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I COnPLETE I 

I VAUDEVILLE r\\ND I 

j READING OUTFITS | 

I FIRST CLASS OUTFITS SUITABLE FOR | 

I STAGE OR CLUB PERFORMERS | 

I Special Mindreading Tests | 

I Complete Acts Arranged | 
^iiiiiiiiiic3iiiiiiiiiiiiE3!iiiiiiiiinc]iiiiiiiiiiii[]iiiiiiiiiiiiE: Prices Within Reason. i>»ii>iiii:3iiiiiiiiiiiiE3iiiiiiiimiC]iiiiiiniiii[3ii]!iiii!iti[3i 



Due to the many orders and requests received for mind-reading apparatus after 
the publication of VAUDEVILLE MIND READING, I have placed under con- 
tract an electrical expert, who manufactures the finest accessories ever made 
up for professional mind reading and crystal gazing acts. 

The Apparatus Supplied Works Perfectly ^ 



Get In Touch With Me 

David J. Lustig [LaVellma] 
Care of 1207 Main Street 

or 

173 Catherine Street 
BRIDGEPORT, CONNECTICUT 



rNOTE — Wanted at all times, Mind Reading Systems, New Ideas, One Man Mind Reading 
Methods, Etc., Etc., for my scrap book. Correspondence Solicited. I can also be reached 
through my publisher, R. W. Doidge, 16 Elm Street, Somerville, Mass. 



LaVcUma's 

VaudevUU Budget 

For Magicians, Mind Readers 
and Ventriloquists 

By DAVID J. LUSTIQ 

("LA VELLMA") 

Author of " Vaudeville Mind Reading/' " Vaudeville 
Magic'' (two editions), Vaudeville Ventrilo- 
quism," ''Magic and Mind Reading 
Tricks You Can Do," etc. 




Cover Design by WILLIAM B. CROCKER 



PUBLISHED BY 

ROBERT W. DOIDGE 

SOMER.VILLE, MASS. 
U. S. A. 



COPYRIGHT 1921 

ROBERT W. DOIDGE 

SOMERVILLE, MASS. 



SEP 21 1921 




TABLE OF CONTENTS 

INTRODUCTION ^ 9 

PRACTICAL TIPS AND HINTS FOR CRYSTAL GAZING ACTS 

Also several methods which will be of aid to the clever entertainer presenting 
Crystal Gazing, and will help to baffle those who believe they know all about an 
act of this sort. During the act the performer throws aside his turban and goes 

right into the audience and gives readings. 10 

SUGGESTED ANSWERS TO QUESTIONS FOR CRYSTAL GAZING ACTS 

Numerous questions and their answers. A guide to the handling of many common 

and uncommon queries. 12 

A CARD WRINKLE 

A "different" way of locating a selected card. Excellent for your programme f^i" 
for impromptu work. 16 

MIND READING ACT ROUTINE 

Routine arranged for the feature vaudeville act doing second sight 16 

INTRODUCTORY LECTURE FOR A VAUDEVILLE CRYSTAL GAZING ACT 13 

THE BOOK TEST 

An effect which can be worked into the routine of a mind reading act for either 
vaudeville or club. A sure-fire feature experiment. 18 

AN IMPROMPTU STUNT 

An excellent mind reading test to work on the fellows when they visit you in yo"r 
dressing room 20 

AND THAT'S NOT ALL—! 

Can also be called, "Pure Jennie, the Moonshiner's Frau." A movie scenario of a 
serial play, in patter form, written around several popular tricks and sure to win 
favor with audiences who enjoy comedy 21 

EVERYBODY'S CHOICE 

Something for your routine, if you do card work, which brings a gale of laughtei 

THE STORY OF THE KING AND QUEEN 

One of the Great Blackstone's favorite impromptu card stunts. 26 

A MIND READING WRINKLE 

For those who employ a verbal code • 27 

WINE-O-LOGY 

A down-to-the-minute liquorologue (vaudeville patter), written around a wine, 
water, whiskey and milk change. This patter can be used by the magician-monr>- 
loguist for a complete vaudeville or club act 27 



25 



WRINKLE FOR CRYSTAL GAZING ACTS 

Many wrinkles have been doped out for acts of tbis kind. Here is one tbe per- 
former can use to good advantage. 30 

PUBLICITY TEST 

A test, used for some years by La Vellma, v^hic'h can be worked to good eflFect 

anywhere and can be depended upon to fool the wise ones : 31 

BLACKSTONE'S PENNY AND DIME EFFECT 32 

THE EGG BAG (La Vellma Method) 

A method, complete with patter, for the vaudeville performer, and one that makes 
an old trick new and more popular 33 

THE ENIGMA CARD EFFECT 

An experiment in Cardistry by the late W. D. Leroy 35 

A ONE MAN CRYSTAL GAZING ACT 

Complete modus operandi and suggested answers to questions for an act of -this 
type in which questions are NOT collected from spectators and all in all an act 
that has unlimited possibilities in the hands of a clever entertainer. 37 

ANOTHER CARD FROM THE POCKET 

A neat stunt with a pack of playing cards. Can be added to the routine of your 
card work •. 38 

THE MYSTERIOUS ENCHANTED CLOCK 

Vaudeville patter for the Hindoo Clock trick. It's different 39 

THE HINDOO ROPE TRICK 

"There ain't no sich animal!" claims Bob Sherman, the writer of this article 40 

A TRIPLE SECOND SIGHT TEST 

Wherein three tests are written by members of the audience and after the third 
is performed the medium turns to the writer of the test and calling that party by 
name (read that again) asks if test was satisfactorily performed. A baffler that 
the entertainer can use as a feature in his show. 

IT'S A CRUEL, CRUEL WORLD 

A real comedy vaudeville skit for three people, in which magical effects or crystal 
gazing may be introduced, unfolding the trials and tribulations of a professor of 
second sight and his assistant. A real comedy hit of genuine vaudeville material. 44 

BY THE WAY— 

Just rambling a bit • 51 

BREAKING INTO THE VAUDEVILLE GAME 

Inside dope, tips and hints which will aid the aspiring amateur to become a vaude- 
ville artist. This is practical dope that each and every advanced amateur w[li 
appreciate • S3 

PATTER ODDS AND ENDS 

Material entertainers can use as a sort of tonic to liven up their chatter. This 
real vaudeville material for magical entertainers which seldom appears in print. 57 

A VERBAL CODE FOR MIND READERS 

One of the best known of verbal second sight codes for vaudeville or club enter- 
tainers 5^ 

AN ILLUSTRATED FAIRY TALE 

In reality a monologue illustrated with a deck of playing cards ; 64 

JUST IN FUN 

A twelve-minute vaudeville ventriloquial act for ventriloquist and single fiigure. 65 

SUPPLEMENT 
TWENTY MINUTES WITH THE SPIRITS 

Complete modus operandi, stage directions, patter and presentation of this modern 
so-called spiritualistic vaudeville feature specialty. A mystery act of an unusual 
sort that can be worked and which is sure to win the approval of any audience. '''O 
MAGICAL DIVERSIONS 

A movie script in continuity form which can be photographed and used for the 
opening of a magic show or act 82 



HARRY KELLAR 
Dean of the Magical Profession in America. 



THANK YOU! 



I take this opportunity to thank the many magical enthusiasts, 
both among professionals and amateurs in this count rj^ and abroad 
for their kind words of commendation on ''ViVUDEVILLE MIND 
BEADING," -'VAUDEVILLE MAGIC" (first and second editions), 
"VAUDEVILLE VENTRILOQUISM," and "MAGIC AND MIND 
READING TRICKS YOU CAN DO." 

The idea of a budget of magical, mind reading and kindred sub- 
jects is something new and I trust will prove of some value to enter- 
tainers. 

Purchasers of magical literature will agree that it isn't always 
the finely gotten up book that contains the most "meat," and when I 
purchase a book I want "meat" and not. fine paper and a handsome 
binding. Hence tlie value of this Budget is not in it's makeup but 
in the contents. 

Again thanking you for your (may we not call it) kind applause 
I am, 

Sincerely and fraternally, 

David J. Lustig^ 

"LaVellma." 



9 



Piractkal IHIinits arnid Tap.s for 
Crystal Qmmg Actj 



A clever Crystal Gazing act still holds the attention of audiences. 
From all indications acts of this sort will continue to meet with public 
favor for some time to come. 

Of course there are acts and acts. In the near future there will 
be less acts of this sort, if any, working in oriental costume. New 
niethods will see light and performers will be presenting a crystal 
gazing act in a full dress suit or tuxedo. Truth is an act of this kind 
working in full dress or tuxedo will entertain and mystify a modern 
audience more than the customary turkish cigarette costume with all 
the familiar regalia, turban, etc., which arouses suspicion. 

An entertainer presenting a crystal gazing act should avoid re- 
peating a quer}^ as it was written by spectator. If the questions are 

repeated it is sure to arouse suspicion. Get right to the point 

give the spectator an answer to his question and if it is answered well 
that will convince the one who wrote it as Well as those around him. 
He'll be a booster for your act. 

^ Inject some comedy into your answers whenever tlie 0]>poi'tuiuTy 
offers itself. Cut and dried answers grow tiresome and then again 
someone might come into the theatre another day to see your act. 

If you "plant" a question at every show be sure if you are doing 
three shows a day that at the two evening shows you use two entirely 
different queries and two different "plants." If you wish to "plant" 
questions use different ''plants" at every performance. A clever 
worker can dispense with "boosters" out front. 

Should you be using a "contact" or "induction" method 

after answering a number of questions take a small card (upon. 

lohich your assistant has written the gist of from three to six ques- 
tions together tvith the names or initials of the tvriters) and "palm" 
it in hand holding crystal ball. Throwing a^ide your turban ( which 
will make the ^^oise'' ones out front wonder), answer the last query 
transmitted to you via the electrical method, then as you walk about 
the stage, every time you wipe the crystal with a large silk flouard. 
upon which ball rests in your hand, glance at a question and answer 
them as you go along. With care you can walk to and stand on run- 
down and also walk into aisle. While in aisle you are above (i>i 
height) the audiences' heads and this gives you an opportunity of see- 
ing what they are supposed not to see, namely what is written on 
card you hold in hand. Be careful if you are working this in audience 
as it isn't quite as easy as it sounds, but a clever performer can do 
heaps of things and get away with it. If you are capable of working 
this bit of business in your routine you will find it heightens the effect 
of act a great deal. 



10 



Another method which may be employed for a change from eleo 
trical methods is that in which some of the envelopes handed out by 
the attendants are about an inch and a half to two inches longer than 
the cards upon which the questions are written. When envelopes are 
"switched" and the genuine ones placed into the hands of your as- 
sistant he takes the larger sized envelopes and opening them reads the 
gist of the question on each and writes the important part together 
with the name and initials of the writer on the outside of another en- 
^ elope of the same size. G-ist of question and name is written on end 
so that when question is answered, after performer has read what is 
vrritten in envelope, he tears off writing end on envelope and instructs 
assistant to allow someone in audience to see that question has been 
answered properly. Performer may allow the assistant to tear end 
of envelope this doing away with the entertainer bothering with it 
himself. This method is excellent for club workers who may entirely 
dispense with electrical methods. 

A further tip on the last mentioned method is that the last two 
questions may be written on the third last envelope together with gist 
of question and name contained in that envelope. Thus the third last 
query in envelope is answered and the last two are quickly memorized 
and the performer goes on answering the last Two questions and 
while he is doing so the attendant hands back these last two en- 
velopes still sealed to the original writers. This adds much to the gen- 
eral effect. 

Envelopes can be numbered and as They are answered the per- 
former calls the number first and then gives the answer and the as- 
sistant picking that number from the pile hands it back still in a 
sealed condition. Assistant as he collects the envelopes writes a 
number on each and shows it to the writers, telling them to kindly 
lemember their numbers. After envelopes are replaced and re-num- 
bered assistant switches them back in place of the ''dummy qtiestions" 
and when performer calls the numbers they are handed back. This 
can be done by ''palmed" cards with numbers opposite the gist of 
queries and names or in any way the performer desires. 

One can do away with tearing open envelopes and putting cards 
in duplicate envelopes by having the assistant hold envelopes con- 
taining cards with queries written on them against an electric light 
bulb (a strong one) and thus the assistant gets the gist of the query 
and turns it over to the performer. 

Good showmanship is the most important aid in Crystal Gazing, 
or Mind Eeading acts. What may seem simple to those "in on the 
know" are deep problems to an audience. Always make it a point to 

surround your act with mystery leave them guessing and they 

will aiopreciate your eft'orts. 

Ee-" Switching" messages : — If you are working theatres with bal- 
conies you can get away from using a changing basket by having 
another member of act meeting the assistants on the landings between 
balconies and "steal" top questions. The assistants who have col- 
lected the messages can keep on with their work and the other at- 
tendant can make his or her way back stage with the messages to be 
answered. 



11 



This method is the safest bet for the professional who does not 

care to bother with some of the new style changing baskets that seldom 
work. 

SUGGESTED ANSWEKS TO QUESTIONS FOR CRYSTAL 

GAZmG ACTS. 

Here's a few questions and answers wliich might aid a bit : 

QUERY: Will I be successful in my new undertaking? — 
'^Thomas Walling.'^ 

ANSWER : Success, they tell us, is a matter of hard, consci- 
entious work. Keep working, Thomas, and eventually success will 
be yours. Does that answer your question Mr. Walling? 

QUERY: Can my medicine be refilled without a prescription? 
— ''Roland N. Newell." 

ANSWER : T get the initials R. N. N. Is that right? Is there 
a gentleman present with those initials? There is? Thank you. 
You wish to know the answer to your query? Very well. The medi- 
cine you are after is very expensive and scarce today. Most people 
try to make it themselves. I personally wouldn't advise the home- 
made stuff and even the crystal refuses to divulge where you can 
buy it. 

QUERY: (PLANTED QUESTION.) Where is my Pierce Ar- 
row?- — ^ "Arthur Marvin." 

ANSWER : — Mr. Marvin. . . .Arthur Marvin. . . .are you pres 
ent? Thank you. You are worried over the loss of an automobile. 
Isn't that right? The car was stolen from (localize) street about 
8 o'clock on a Thursday evening about a week or ten days ago. Not 
long ago your sweetheart left for parts unknown, A former goo<l 

friend of yours also left the city on a long trip presumably t() 

go abroad. I see a connection between the lost car and your friend. 
If you were to put the matter into the hands of the police in a town, 
I will give you it's name after the performance, I believe you will 
locate three birds with one stone, namely, the car, the friend and 
your sweetheart. 

Q. When will I obtain a position? 

A. It all depends on how hard you are trying. Things are, at 
present, a bit dark looking but before long things will pick up and 
there will, I hope, be plenty of employment. 

Q. My sweetheart wants to marry me but we have very little 
money. What shall I do? 

A. When two people love one another and ar6 sincere tliev 
should marry. Put up with the present hardships in life and fight the 
battle of existence together, shoulder to shoulder. Monev never 
did nor will buy happiness and remember that happiness conies first. 

Q. Would you advise me to undergo the operation about which 
I am so worried? 

A. If your doctor has advised it I believe his advice is far better 
than mine. He has comnletely diagnosed your case and understands 

12 



it. Operations may not be the most pleasant of things in life but 
there are times when they are very necessary. 

Q. Should I divorce my husband and marry the man I care for ? 

A. That is a difficult question to answer. Don't be too hasty in 
your decision for there are times in every woman's life that she may 
make a mistake unintentionally but which may in time to come prove 
most unpleasant. I might say look before you leap. 

Q. Shall I ask Edith B. to marry me? 

A. If she is deserving of a good home and if you are sure you 
will make her the right sort of husband I advise you to go ahead and 
propose but on the other hand if you are not sure of the lady or your- 
self hesitate. 

Q. Is my wife true to me? 

A. She sure is but should you still have doubts about it and 
do not believe me. . . .ask her. 

Q. Will my mother be cured of her aliment ? 

A. Would advise that you consult another physician or better 
still have another doctor called in for a consultation. Two heads 
are always better than one. I can see no reason that she cannot, in 
time, overcome her illness. With proper care and treatment your 
mother will soon be well on the road to recovery. 

Q. When will working conditions be better? 

A. Things were on the boom during the war and now we are 
going through a period of reconstruction. Within a few months 
things will be picking up I trust. 

Q. Should I sell the bonds I now have? 

A. Look up the market value of them or better still consult 
some reliable broker. As you fail to mention the kind of bonds I can 
give you no further particulars, 

Q. I have quarreled with my sweetheart. What can I do? 

A. If you are responsible for the misunderstanding and really 
care for the party in question would advise that you write him a 
letter and admit to him that you now realize you were wrong. 

Q. Will I realize my ambition? 

A. In your path there will come several setbacks but do not 
lose heart. Almost anything can be done when one sets their mind to 
do it but it is up to you to make up your mind not to allow outside 
influences to interfere with your ambition. 

Q. I know a young lady for some time and I would like to make 
ber my wife yet I cannot get up nerve enough to propose. What can 
I do? 

A. Kemember that faint heart ne'er won fair lady. Call on 
the lady, throw out your chest after taking a deep breath, and pro- 
pose. The worse that can happen is that she may say ''no." 

Q. Shall I accept a position offered in New York? 

A. There are any number of good reasons why you should not 
hesitate in accepting that New York position. I believe the 
change will be of benefit to yourself. If your present attach- 
ments are not of a serious nature in town by all means go to the big 
town and with sincere effort you will make a success of yourself. 
Best of luck. 



13 



Q. Is it right to love one man, who is far away, and accept the 
attentions and gifts of another? 

A. Certainly not. There are too many girls of that type nowa- 
days. If you really love the man who is far away, continue to do so 
lor he is continually thinking of you and some day he will return and 
both you and he will be able to understand the real meaning of hap- 
piness. 

Q. I am lonely and gradually becoming melancholy. What can 
I do? 

A. Gro out more. Mix with the right sort of people. Before 
long you will meet a young man whom you will learn to love and he 
will think you are the greatest ever. Make him happy when you meet 
him and whatever you do don't let a young girl like yourself become 
melancholic. 

Q. Why is it I cannot get a raise from the firm I work for ? 

A. My dear sir, you are not, at the present time, entitled to a 
raise from your firm. You should consider yourself lucky you have 
a position. You will find, if you take the time to consider it, that you 
are in a position where you have every chance of advancement. Spend 
some time in fitting yourself for a better position and when you do 
fit yourself for something better you will find that that is the time 
you will receive advancement as well as the raise you so desire. 

Q. My sweetheart refuses to marry me. What am I to do? 

A. She perhaps has some very good reason. Best thing I can 
jKlvise is to look at yourself from her standpoint. Correct, as well 
as you can, any faults you or she may find. Then start all over 
again. If you can look yourself in the face literally and find you 
have but few faults pop the question again and then if she refuses 
you better get a new sweetheart! 

Q. Shall I start action for a divorce? 

A. I do not advise that. You may think you are very uphappy. 
Did it ever occur to you that possibly you have not done everything 
in your power to create happiness for yourself? Look at your life 
and that of your husband from every angle. He thought enough of 
you to make you his wife, didn't he? Then why not talk matters 
over with him and both you and he start things all over again ? 

Q. Shall I leave my present position to better my salary ? 

A. That all depends on you. Would advise that you take no 
chances. I have known folks who changed positions to obtain more 
salary and after a few weeks would have gladly taken many dollars 
ofi^ of there salary if they could have obtained their old place back 
again. 

Q. What will the verdict be of my trial ? 

A. It would be impossible to predict the verdict. It seems to 
me that you are not entirely at fault and the outcome of the trial will 
be more in your favor than you think. Are you sure your attorney 
knows your side of it thoroughly? Talk it over with him again and 
don't worry, everything will come out right. 

Q. Why do all the boys look at me and laugh ? 

A. Because you are addicted to the use of rougue, eyebrow pencil 
and are very fond of wearing clothes that are the very extreme. Bet- 



14 



ier get rid of your makeup. Use but little powder and dress more 
quietly. I am sure if you heed this advice your friends will like you 
better and the boys will substitute admiring glances for their laugh- 
ter. 

Q. Shall I break my engagement? Although I have been en- 
gaged a vear I have recentlv met another whom I like very much. 
What Shan I do? 

A. Do as your heart dictates. Don't be hasty though. First 

think matters over well .... then decide. 

Q. I met a man recently. He seems to admire me. I love him. 
Is it a case of love at first sight ? 

A. Admiration is not love. You are anxious to marry, have a 
liome and settle down. Avoid marrying in haste and repenting in a 
furnished room. Time must take its course. If the young man really 
cares for you or loves you he will make it known to you before long. 
In the meantime have patience. 

Q. What has become of my signet ring? 

A. You have lost the ring. You are thinking that someone 
took the ring but such is not the case. The party y^ou suspect is en- 
tirely innocent and is as grieved over your loss as you are. I seem 
to see a country road, an automobile and there occurs that w^hich take 
tlie joy out of automobiling. . . .a blow out. You are busy trying to 
iMljust a slioe and as the ring was too large for your finger it got 
wedged in a spoke between the wheel and slipped from your finger. 

Q. Does the young lady I take out care for me? 

A. She does. . . .but only as a friend. She is far from being wild 
about you. You are thinking about settling down and asking the 
lady to become your wife. That all sounds so nice and lovely but as 

far as the lady becoming your wife don't waste your time. In 

that sense you don't even exist. Take her out if you care to but 
don't build any hopes that may be shattered when you spring the vital 
question. Better luck next time. 

Q. When I got married did I give the preacher enough money? 

A. That's an odd question. It all depends. I have heard some 
men say that the next time they get married they will hand the 
l>reacher man some cigarette coupons and then consider themselves 
getting the worse of the bargain but the truth is, all jokes aside, 
preachers are not money mad and whatever sum you gave him he 
thanks you for and wishes you well. 

The more questions you answer, during your act, the more 
familiar you will become in giving appropriate answers. Unless you 
use a "planted" question avoid predictions. Bear in mind you are 
giving readings NOT predicting forthcoming events or telling for- 
tunes. Be very careful of this sort of thing. Laws are strict. 

Will be glad to advise further along these lines. 
If you do a crystal gazing act and have been puzzled 
by some of the queries shoot me a line and let me 
help you out and the next time a question of that 
sort is given you you will not be at a loss as to how 
to give an appropriate answer. D. J. L. 



15 



A CARD WRINKLE. 



A ^^Differenf' Way of Locating a Selected Card. 

A good stunt for locating a selected card and can be used as an 
impromptu effect. 

Hand deck to be shuffled and have a card selected. Take pack 
and have selected card replaced, pass made and card brought to the 
top of the deck. 

Take carton (cardhoard case cards come in) and place deck in 
it with selected card (top of deck) at end where flap is inserted into 
carton. Take flap of case and insert it under selected card. Keep 
thumb, which has been slightly moistened, on selected card. Make an 
upward throwing motion, then throw pack into air at same time slip- 
ping selected card from case when tossing pack in carton upward. 

Catch case and ask spectator who drew cards it's name. Show 
card you hold to be selected one. - 

A little care and you have an excellent effect. 



MIND READING ACT ROUTINE. 
Introductory lecture. 

Messages collected and 'phoned to medium. 
Six tests written on ends of envelopes. 
Memorizing two queries and answering them in aisle. 
Naming a number of articles by prearrangenient. 
The Book Test. 

Two or three "planted" tests. 

The above routine can be used for either a vaudeville or club 
Mind Reading or Crystal Gazing act. 



INTRODUCTORY LECTURE FOR A VAUDEVILLE CRYSTAL 

GAZING ACT. 

Ladies and Gentlemen : • — 

I shall this evening present for your approval a series of psj^hic 
experiments. 

Psychic phenomena has been written of, and lectured on time and 
again but my idea, is to present for you experiments wliich I will 
leave to your own imagination to expiahi just how they are accom- 
plished. 

My attendants will pass in the aisles and hand you some en- 
velopes and cards upon which you may write any questions you wish 
me (or Madame) to answer. (Assistants pass down aisles and pass 
out cards and envelopes.) 

I lay no claim to supernatural aids but I do ask that no mat- 



ter what means you thiuk accomplish what you will see don't 

forget that ''There are far more wonderful things in life than that 
which you know." 

Upon receiving a card and an envelope I wish you to carefully 
examine them and then write with your own pencil or fountain pen, 

any question within reason .... you wish answered. Sign the 

query with your full name. Be sure and sign the complete name 
as should initials only be used it will become confusing while the 
questions are being answered for there may be more than one among 
you this evening with either the same initials or Avith initials so 
nearly alike that this would cause confusion. 

After signing the card with the full name place it in the envelope 
and seal it. The attendant will collect it. 

Ask any question relating to financial affairs, love affairs, ques- 
tions concerning affairs of the family, business matters and the like. 

Foolish questions will not be answered, neither will unsigned 
questions. 

I shall (or Madame, if a lady plays the part of the medium ) en- 
deavor to answer as many questions as time will permit. 

Should any of you people prefer to write your questions on your 
own paper or Ijusiness card, do so by all means and if you have the 
query already sealed in your own envelope. . . .fine. . . .that convinces 
you and saves me an envelope. 

If your question is written on your own paper and you haven't 
iin envelope ask the attendant when he passes to hand you one. 

During my engagement at this theatre you may bring me your 
questions in any shape or form you desire. If you wish your question 
to receive attention and be answered be sure and sign your name as 
unsigned queries will not be bothered with. 

No matter what question jow ask, so long as it is a logical one, 
I shall answer. For I know ! 

Xo matter how doubtful a ou mav be on some sort of proposition 
....ask me, I KNOW! 

Is your sweetheart true to you ? I know ! ! 

If you are anxious to know whether or not you will be successful 
in a business deal .... ask me ! I KNOW ! ! 

If you wish to know if the girl you have picked out to ask to 
become your wife is the right lady. . . .ask me — but don't expect too 
much. 

Don't waste time asking me to predict what the future holds for 
you. I do not predict ! I am not a fortune teller. I give only read- 
ings, the answers which I obtain in the crystal ball. . . .the sphere of 
a million hidden mysteries. 

When all the questions have been written and sealed they will be 
brought on the stage and placed on the pedestal in full view where 
they will remain. 

I shall not pass near them, nor after they are deposited in this 
glass bowl, be approached by either myself or any of my attendants. 

I shall request you all to kindly remain quiet in order that the 
best psychic conditions may be obtained.. 



17 



rerfect quiet aids concentration thus enabling the thought waves 
to become thoroughly synchronized. 

AVluMi T (or Madame) call the name of a party who has wished a 

(]U(M v answered the party whose name is called will kindly 

raise tlieir hand. 

The crystal ball is used only to aid concentration and no matter 
vrhat (piery nmy be answered no claim is laid to supernatural aids or 
power. 

AVe do not claim all readings are correct. The most able minds 
today readily admit that it has been proven to their satisfactions that 
future events and coming changes can be foretold. 

The parties making inquiries, this evening, will kindly concen- 
trate on the questions they have written and I (or Madame) shall 
endeavor to answer them as carefully as possible. 

Thank you. 

(The messages having teen collected are placed in glohe which 
should stand on pedestal in full view of spectators throughout the 
performance,) 

Note : — For various methods of presenting a modern Vaudeville 
Crystal Gazing act the reader is referred to VAUDEVILLE 
MIND BEADING. 



THE BOOK TEST. 

An Effect Which May Be Worked Into the Routine Of a Mind 
Reading Act. 

The Book Test can be introduced in a Mind Reading act or used 
as a feature effect for club work. 

The effect while not exactly new is worthy of a place on any pro- 
gramme. 

EFFECT: — Performer hands a book to a spectator and asks 
that it be opened to any page. This is done and the performer con- 
tinues, "I have in no way influenced your choice of a page. Now count 
down any number of lines on the selected page. Thank you, sir." 

"Will you, sir, kindly follow closely the reading matter from the 
beginning of the line which you have selected.'' 

Entertainer then requests the medium to atune her thoughts 
with those of the gentleman assisting and to read the line which the 
thought waves suggest to her. 

Medium reads a part of the chapter starting at the selected line. 

The How Of It : — Under cover, the medium has a duplicate 
book concealed. It should be a small volume of poems. 

Medium takes her seat with back to audience and is blindfolded 
with blindfold so arranged that she can easily see the printed lines 
of the book by looking down the sides of her nose. The book, of 
course, is held in her lap. She must take every care that spectators 
don't see this duplicate book. 

With careful working the customary sheet to cover madame can 
be done away with. Later day methods in mind reading entirely do 



18 



away with the former methods of throwing a sheet over the medium. 

The test hinges on a verbal code so introduced as to avoid sus- 
picion in the minds of the spectators. 

When medium hears the performer say, "I have in no way influ- 
enced your choice of a page," she listens carefully as she knows soon 
after this the number of the page will be transmitted to her. 

For example, say the page selected is 54. Performer has to 
"shoot" the ''5" and the "4" to medium and he knowing by the fol- 
lowing chart, which is studied by both entertainer and his assistant 
(medium), that "T" is "5" and "A" is "4" he must start the first 
word of the first sentence with a "T" and the first word of the second 
sentence with an "A" thus : — 

'Think well." 
"All right." 

In this way medium is informed that the selected page is 54. 

After the page is made known to the lady on the stage the per- 
former requests the spectator who is assisting him to count down 
any number of lines. Performer watches this carefully and says the 
21st line on the page is selected. 

Performer to transmit "21" to medium may do so by either talk- 
ing directly to hei* or "shoots" it to her in his talk to voluntary assist- 
ant in this manner: — 

"Very well. ("V" is "2") 

"Don't read it aloud, sir." ("D" is "1") 

Medium counts down from top of page to 21st line and wlieu 
l)erformer tells her to "Begin" she reads on haltingly much to the 
surprise of the spectator who selected the page and number as well 
as the audience. 

As soon as test is over medium gets duplicate book under cover 
and no one is any the wiser as to how it is done. 

In following chart performer can use whatever words he cares 
to bearing in mind that it is the first letter of every sentence that 
conveys the numbers to the medium. 

The Chart : — (With suggested words ) 

1 D "Don't read it aloud." 

2.... v.... "Very well." 

3. . . .S. . . ."See what is written there." 

4 A . . . . "Are you ready ?" 

5. . . .T. . . ."Thought waves are everywhere." 

6 1. . . ."In perfect accord with your thoughts." 

7. . . .G. . . ."Give madame no inkling, etc." 
8. . . . J. . . ."Just read along that chapter." 
9. . . .L. . . ."Let your mind concentrate." 
0. . . .U. . . ."Useless to conceal your thoughts." 

Repeat Last Number. . . .M. . . ."Marvelous mind!" 
NOTE : — Should someone select contents page of book performer 
says to madame, "Concentrate on the subject." "C" meaning con- 
tents have been selected. Then performer "shoots" to the lady the 
line of contents selected. 



19 



AN IMPROMPTU STUNT. 



A Mind Reading Stunt To Work On Your Friends. 

After a few impromptu stunts ask a spectator to think of the 
first name of some friend. Tell him to spell out the name slowly to 
liimself and for every letter tap your forefinger witli his fore- 
finger. 

Suppose the name he is thinking of is '/William/' he slowly 
spells out that name and for every letter taps your forefinger. 

You then work the eftect up by asking if it is the name of a man 
or woman. Then you tell him the name he has been thinking. 

With practice this experiment can be worked up into a mysti- 
f} ing impromptu effect. 

Modus Operandi : — Requires careful work for, at times, you 
liiay fail but should you make a miss you can get out of it by asking 
tlie spectator to think of some other name and to be sure and con- 
centrate on the name as he spells it. When you do work it right the 
members of the gathering before whom you are working will spread 
your fame abroad. . . .at least, among their friends. 

Each name has a certain number of letters, i. e., John has four ; 
James has five; Joseph six; William 7; Ernestine 9; Minnie 6 and 
so on. Should you receive five taps and are told it is a man's name, 
you can guess two or three names for instance, James and Frank 
have both five letters in each, and you can say in an off hand manner, 
''I get the impression that 'J' is the first letter, am I right?" Spec- \ 
lator says, ''No." Then asks the performer, ''What is the first let- 
ter?" "F", replies the interested one. Then the entertainer says, j 

"Frank", and if it is right they ponder if you are wrong they# 

figure test out as a most difficult one. At times this test is based ' 
on guess work but well worked up, with a certain percentage of | 
showmanship, this stunt will fool them. Try it. 



20 




AND ~ THAT'S :s^OT ALL. . . . ! 
• — or — 

PUEE JENNIE, THE MOONSHINER'S FRAU. 
(An Overhaked Serial Play in Patter Form) 

CAST 

ELDELBERTUS GREEN, who loves Jennie and afterward marries 

lier (A Green Silk). 

JENNIE RED, the canse of it all and who changes her color 

(A Red Silk). 

HANDSOME DAN YELLOW, a Heleva Gnv ... (A Yellow Silk). 
Action 'by Typewriter. 
Conceived by Hashish. 

Art Titles by Qoke. 
Photography by Mail. 
Staged Under Direction of Noah Account, 

SCENES. 

Are Laid Anywhere^ Noid, Later or Never Whenever That Is. 
NOTE : — Introducing Our Old Friend 

The Twentieth Century Handkerchief 
Effect (loith Yelloio Silk in place of 
flag) and the new st^de handkerchief 
tube (Petrie). 

i, PATTER) 

The picture fades in on Eldelbertus Green (Performer shows 
green silk) while summering in that livel}^ town of (Localize some 
small dead place) rescues Jennie Red (show red silk) from a watery 
grave and finds she being a brave, young miss who don't run. . . . 
proposes to her exactly 12 minutes after he pulls her out of the 
water. . . .but she being a wise miss and having read Boccaccio puts 
him off, telling him she loves him but they must avoid marr^^ing in 
haste and repenting in a furnished room. 

And that's not all 

Handsome Dan who has followed Jennie from Oakosh to 
(localize) is yellow thru and thru (show yellow silk) and a villain 
with 'Villainess" intent. .. .whatever that may mean. 



21 



We see Edelbertus and Jennie together a lot and this pains 
Handsome Dan who, after all, is a modern villain and owns not only 
eight limousines and four harems. .. .but also a heart. 

Time passes and as their names are not coupled in the scandal 
sheet they decide to start something. Edelbertus coaxes Jennie to 
marry him and she consents. 

They travel to the ministers and the knot is tied. (Tie red and 
green silks together). (Orchestra plays softly the loedding march). 

Art title: — The Wedding Mourn (^pell it out aloud 
(M-6-U-R-N). 

After the ceremony they start out to put to test the foolish say- 
ing that two can live as cheaply as one. 
You and I know it can't be done! 

Anyway they move to the city, and Edelbertus leads his 

blushing bride into the home he has furnished from Sears and Roe- 
bucks catalogue. (Place silks in glass). 

Now let's continue on with the scenario 

Leaving the happy couple to bask in the sunshine of one an- 
other's smile (Place large handkerchief over glass). Orchestra 

[days few hars of Hootchie Coochie). What's going on in there 
brings to my mind the same answer as when I see a chorus girl 

stepping into her new limousine wearing a new sealskin coat 

it"s none of my business. 

And that's not all 

The scene cuts-back to (Localize). 

Handsome Dan misses the hero and the heroine and after mak- 
ing inquiries which inform him of their marriage and departure. . . . 
he decides he is the original Dumbbell and grabbing a suit case just 
makes the express bound for New York. (Whistle and train effect 
as yellow silk is vanished.) 

Art Title : — Father Times' beard has grown longer and whiter 
.... indicating the lapse of time. 

Time brings many changes and additions. Edelbertus after 
reading Mrs. Banger's stuff.... is the proud possessor of triplets. 
(Large handkerchief lifted and three little silks, one red and ttvo 
green, taken from glass,) which are considered by the happy cou]ile 
a blessing although others look upon them as an accident. 

Then things start to look black and trouble is sighted ahead. 

Handsome Dan after minutes. . . .1 mean months of seeking dis- 
covers where Elderbertus and his wife reside. 

Watching his chance he comes between the husband and wife 

which can spell but one thing TROUBLE! (Performer takes 

from glass green, and red silk with yellow silk tied/between them.) 

(Tremelo Music.) 

And that's not all 

This part is serious. 

Eldelbertus is at his w4ts end but believes in his wife. ^'She is 
the most pure woman alive," he cries. ^'She has been placed under 
the power of home brew. . . .1 mean, hypnotic power and that villian 
Handsome Dan controls her," he yells. 

But Dan, who overhears this laughs and then laughs some more. 



22 



For, as Ban figures, lie can afford to langh for he lias the woman, 
v/hether she scorns his love or not, in his possession and possession 
is nine-tenths of the law. 

Episode Eight. (Use handkerchief tuhe and mirror glass.) 

Art Title : — The Passing Years Bring Changes .... an' everv- 
thin'. 

Now the scene shifts to Gay Paree. . . .or where yon will. 
And that's not all 

The ''willian" with the heroine by his side (untie green silk^ 
place it on ta'ble.) Starts on a journey to Asia. Of course. Asia 
sounds good so we'll use it. (Place yelloic and red silks in mirror 
glass.) (Take up green silk (the ''hul)t)ij\) The hero, laying aside 
]iis knitting, starts thinking where Handsome Dan has taken his 
wife. He sits deep in debt.. . .1 mean thought. So careless of me I 

Flashback, reads the scenario, to the villiaii's activities in Asia. 

The villian sets a trap for the hero. How he knows this bird 
is in Asia .... that's for you to guess but they can do anything and 
get away with it in the movies, you know. (Place paper on tuhe^ 
after shoH'i}ig it to te empty.) Villian hopes hero will happen along 
in the dark and mistake the trap (indicate tube) for a cave, go in 
for the night and when morning comes hero w^ll find himself trap- 
ped, as one can go into the cave but when making an entrance one, 
unless in on the secret, starts certain concealed machinery in oper- 
ation and front of cave automatically closes hemming the unfortun- 
ate in where he is left to die. Curses! (Chord from orchestra.) 

And that's not all 

The villian tells heroine all about this trap he has laid and 
gloats over her anquish. . . .whatever that means it sounds good, don't 
it ? .... it does .... heroine becomes overcome by the hot air .... the 
fumes. . . .the thoughts of the dire peril of her dear, beloved husband 
.... and faints. Villian throws her into cabin which stands on 
nearby edge of a convenient wood. (Indicates glass on ta'ble, ) 

Let me explain the scenery. The trap (point to tuhe)^ the hut 
or cabin (point to glass), the sorrowing hero (point to green silk). 

Hero (pick up green silk) who has by now given up knitting 
and taken up tatting. .. .wanders on his way.... hops freights, 
plays Poll time and finally gets enough money to reach the coast 
. . . .where he runs into the captain of a ship leaving for Asia. 

Distracted. .. .from grief.... and without a thought to his lily 
white hands and well manicured nails.... he dashes aboard and is 
signed on as a deckhand. On. the way over he tells his troubles to 
the Marines. . . .and several of them strike up a friendship with him. 

Eopes are cast overboard, a whistle toots (steainhoat effect hi/ 
drummer) and hero has landed in Asia. . . .Baxter street, New York 
. . . .it's all one. . . .and he wanders aimlessly near the border of the 
jungle. 

Suddenh' . . . .from out of the night which was dark and clear 
....he hears a woman's voice shrieking, ''Never! Never!!'' Forget- 
ting, for the moment where he is, he rushes toward a little cabin 

he sees the rooms alldit up. Prohibition is off in Asia. He 

cries, ''In these parts even the rooms are all lit up ! I am lonely and 

23 



all alone I shall force an entrance and swallow my pride and 

beg for lodgings for the night." His main thoughts are to save the 
woman whose shrill cries he has overheard. 
An' that's not all 

He cautiously, like a federal agent, creeps up closer to the win- 
dow and sees. . . .red (hold up red silk). "My wife I" he madly yells. 
(Hurry music hy orchestra). And then things start happening! 

The curtains are quickly drawn. (Put handkerchief over glass). 

The villian is now pursued. The hero rushes wildly into the 
house, thru the window. 

The plot thickens! Night has reached the hour of twelve. 
(Gong sounded tivelve time rapidly), Villian rushes from house 
.... the temperature is growing too warm there for him. 

He stumbles blindly on and on. (Heavy noises of). 

The marines wonder what has become of their friend and start 
investigating. 

On and on goes the frightened, villian. He shows yellow at 

last. Suddenlv there appears before him the cave shelter at 

last ! 

The scene shifts to the interior of the cabin. 

Hero rushes in, clasps his wife in his arms and cries, "My own ! 
My own little dumbbell queen!" (Pull out red and green silks tied 
together^ from mirror glass). 

And that's not all 

Fade out on hubby and friend wife locked in tight embrace. 

Fade into the dawn of a new day. 

But the villian? 

Oh, yes on that new day the marines find him in the cave 

he has fallen into the trap of his own setting. 

Villian is pinched (pinch yellow silk) and led off to prison 
(place silk in pocket) but can he escape? 

Does the hero and heroine live happily forever after? 

To answer those questions as this is -a serial all I can 

say is, "Continued next week." So that's not all ! 

I thank you. 

(Exit Performer R. 1st, E.) 




A MIND EEADING WRINKLE. 



Mind Readers employing a verbal code and asking medium to 
locate various articles, answering questions, giving advice, etc., can 
make use of the following cues: — 



"Madame" Marriage (Forthcoming). 

"Please" Divorce 

"Think" Lost Brother 

"Concentrate" Lost Sister 

"Tell" Journey 



(S( )}((}) fingers once and say J "Now". .. .Lost ring. 
(>^uap fingers once and say,) "Ready" .... Lost brooch. 

(^^nap fingers once and say,) "Oblige" Lost pocketbook. 

(^nap fingers tioice (Xo talk) Lost watch. 

This method would eliminate long sentences. The performer 
will quickly grasp the idea and make use of it. 

So the above code words doesn't conflict with these words (or 
some of them) which might be used in the code employed the per- 
former in audience could preface this question answering, etc., hy 
this remark: ''Madame will now answer any question you care to 
-put to her." 



W I NEOLOGY 
A Down-To-The-Minute 
LIQUOR-O-LOGUE. 

(Being vandeviUe patter for the well known ^yine and ^yater Ex- 
periment. The arrangement as it stands can he used as a ten-minate 
monologue during which the Wine and Water trick is featured. 
Parts of the patter can he hlue penciled^ according to the Perform- 
ers individual taste, and used as straight patter for the trick itself. 
V/ith proper husiness, etc, this monologue can he lengthened into 
a fifteen minute act in ''one.) 

(Note — The changes suggested hy the following patter are wine, 
ivater, wine of a darker shade, milk, whiskey and hack to 
water. Formula for various changes are not given. They 
are too well known among Magis for repetition here. 
Laugh and the world laughs with you.... treat and you treat 

alone. 

That was all right to say about some folks before the pure 
"angels that are" took away our old friend Johnny Barleycorn. 

If things don't soon change, there are men who if they can't get 
the necessary refreshments soon. . . .will go off their lids and try to 
squeeze cider out of their iVdam's Aj)ples. 

It was up to a magician the greatest w^izard and wonder 

worker in the world my name appears on the programmer.. 

to conjure wet goods. Yet they do say Spiritualists are better when 
it comes to getting in touch with spirits. 

If that is the case. . . .1 have some friends who will soon start 
cultivating a large acquaintance among Spirit Mediums. 

27 



The best Spirit Medium T ever mot liad a saloon in (localize) 

street. .. .but you couldn't get into liis saloon on Sunday 

no, siree it was too crowded! 

But those days are gone and as I don't believe in speaking ill 

of the dead I will say but little against 1M5 beer but a lot 

against those who make it. 

Now the beer we get nowadays and the whiskey they hand out 
is enough to drive any man to drink water! 

The whiskey is what is known as aeroplane poison; just one 
drop and your expenses cease. 

And the beer reminds a friend of mine, ,an undertaker. . . .one 
of those forward chaps who isn't a bit particular who he lays out 
....of a corpse; the body remains but the soul hath departed. 

And while I'm at it I'll bet two drinks that Noah's Ark 

landed in (name town you are playing) , because don't the bible say 
the Ark landed in a dry place? 

And when I think of the stuff that cheers 1 can't help think- 
ing of that old saying that Life starts with a bottle and ends 

with a bier. This also proves that Life is but a long or short drink. 

It is said that man is 90% water. Look at me. . . .who Avould 
think it? 

And thirst is something that may leave us for a while but is 
never entirely forgotten. 

Now kind cash customers .... I will let you into a little secret 
(takes pitcher in hand). Chemists claim that home brew.... you 
know raisins soaked in water. . . .is poisonous. I have no doubt of 
it because a friend of mine recently drank a number of glasses and 
they carried him home dead .... drunk ! 

- Your friends will tell you there are all kinds of drinks con- 
cocted nowadays. .. .and along came a fellow just before I came 
out here .... who claims he knows a former bartender who makes his 
own beer and calls it Male beer.... and why? Because this bar- 
tender's name is Cohensky and the beer is Hebrew (he-brew). 

Mr. (names theatre) close this act.... he's all wet! (aside) No 
such luck. Can't get enough of it nowadays. 

They told me in the last town I played that my act was 
'^schrecklich" .... which means great in Italian. 

Now frankly 1 have a four-burner gas jet home which when 

it grows dark outside, makes me jealous. Why that gas jet every 
night gets all lit up! ! 

Let me earn some money now and show you my stunt. It was 
taught me by my sweetheart whose father was discovered to be a 
moonshiner. .. .but no matter, I love her ''still." 

One evening I was at her home and we became dry .... maybe 
she didn't but I did and I can drink enough for two anytime. . .Vco 
be sociable. She asked her dad to give me a drink. He looked me 
over and said .... I think you'll keep a secret. Then he told me he 
was from Kentucky and loved horses. All Kentuckians love horses. 
Because you know the old "saw", 'You can lead a horse to water 
but you cannot make him drink'? Can you blame the Kentuckians 
.... or the horses ? No, sir. 



28 



And here is what he showed me and how you fellows who 

are wearing your hearts away for that bird called Old Crow can 
satisfy that inner craving. .. .if you'll watch me closer than that. 

He told his daughter to bring a pitcher and a number of glasses. 
From the pump. . . .there are no spigots or taps here to deceive you 
... .he filled the pitcher full of water. (Points to each as he names 
ihem,) Pitcher. Water. Glasses. 

I want you to be sure to see them. How do I know where some 
of you fellows were before you came here. 

Making sure no one was about .... but we three .... the old 
Moonshiner poured a glass of water so and asked me to prove it 
was water by taking a swallow. . . .which I did. The swallow was 
a small one and I'm glad he didn't call it an eagle. 

Liquor, he said, wears out the overcoats of the stomach. That 
was very true. But my stomach don't care, because when all the 
overcoats are worn out Mr. Stomach can go 'round in it's shirt- 
sleeves. 

Now for a miracle .... a real drink ! 

Pouring another glass out of the pitcher, lo and behold.... we 
saw it was a glass of wine. 

''Well", said I . . . . "that looks interesting. 

''Sh!" cautioned he, ''not so loud." And poured still another. 

Tlien lie said, "Suppose tlie lady present doesn't indulge. ... all 
cue lias to do, when he knows tlie secret, is to take the pitcher from 
tlie right hand and transfer it to the left. Then pour another glass 
and we have water. 

Confidentially. .. .let me add.... that to do this stunt success- 
fully be sure and use a left-handed pitcher. 

To accommodate another guest who walked in then with several 
moonshiner friends. .. .the old timer again switched the pitcher 
from his left hand to his right .... and conjured up some more 
spirits. 

Suddenly a knock was heard outside the door and fearing a 
visit from a revenue officer. . . .he quickly poured all the glasses but 
the one containing water. .. .back into the pitcher .... and then 
looked innocent. 

Everything was all right. . . .the wine became water once more 
.... no incriminating evidence at hand. 

It wasn't a revenue officer at all ... . only one of the wiseacres 
who acted as cook for the moonshine camp. So the old man got 
busy and filled up all the glasses again. . . .and all had real wine 
with a "kick",. . . .a somewhat unknown quantity. 

The wiseacre insisted upon having an eggnog. My sweetheart 
said she had no milk in the house. But her Dad's a wonder. . . . 
whenever you are in doubt about anything ask Dad .... he knows. 
That's the little white slave stuff get me? 

By the way .... I would ask several of you gentlemen down 
there to step up here and sample this booze .... but I fear a number 
would get hurt in the rush. So I won't. 

So we saw the old gent pour another glass out and there was 
a glass of not water, or wine but milk! 



29 



Into the milk he unrolled an egg and the wiseacre was non- 
plussed. He took a drink and then begged dad's pardon and said 
he was sorry he spoke out of his turn and that he'd rather have 

whiskey. The old man is a good mixer in a fight or with drinks 

then he performed another miracle back into the pitcher 

went Mr. Eggnog . .and then the pitcher went to the well 

emptied its contents and behold Shades of real Champagne 

whiskey, in all its glory, made its appearance. 

Dad who knows then asked his daughter to touch the pitcher 
with the wedding ring she wore. She wore a wedding ring but 

wasn't married then. Say, by the way, professor (To 

orchestra leader) AVhat's a wedding ring for anyway? 

LEADER: — A wedding ring signifies that the wearer is mar- 
lied . 

Is that so? I guess you're wrong, Phillip. You may see a lot 
of empty bottles but that doesn't signify there's some real gin 
around, does it? 

After she touched the ring to the pitcher all the glasses, 

according to Hoyle were poured back so, one after the other. 

One or two with the left hand, pinching the glasses a bit ratlier 

if you pinch glasses you're apt to do a bit and then taking up 

the others with tlie sixth and eighth fingers of the right hand, glasses 
held 221/2 degrees north latitude by 8I14 degrees south longitude 

the man is mad! D. T.'s! Quite an unknown ailiment, by 

tlie way, nowadays. At any rate the glasses were all poured back 
as before and turning the knob to the left to 41 and to the right to 

75 twice the safe is open the liquor disappears and in 

it's place is that unnecessary^ substance which rusts tin we 

have what is universally known, after all, as the greatest of all thirst 
quenchers Adam's Ale Yep after all ! 

Don't wear out pitchers and glasses practicing this stunt when 
you get home. 

I thank you. 

(Bows, and exits. Music, ''How Dry I Am.") 

WRINKLE FOR CRYSTAL GAZING ACT. 

Some entertainers make use of the following wrinkle in their 
Crystal Gazing act. 

Large numbers are written on envelopes by assistant as he col- 
lects them. Writers of the questions are told their numbers. After 
the envelopes are opened by assistant to obtain gist of the questions 
written which is telephoned to the performer, the envelopes are again 
sealed or questions are put into another envelope and the same 
number is marked on the outside. These questions may be given 
back after the readings. 

To give them back again to the writers they must be 

"switched" for "dummy lot" and held by assistant who takes his 
stand either in aisle or on rundown. When question is answered 
by performer he calls the number, assistant gets the envelope witJx 
tliat number and hands it back to the original writer. 



30 



When questions are being answered performer calls the numbers 
as he goes along and the questions held by assistant should be well 
mixed so it will look more ''"on the level" to spectators when assistant 
tishes among other envelopes to tind the numbers as called. 



PUBLICITY TEST. 

Performer explains to a party of friends, a gathering at the club 

or in a newspaper office the w^onders of mental telepathy. 

Finally performer explains that he will put his medium to a severe 
test. He borrows a pack of cards, shuffles them and has three or 
four cards drawn. Cards are retained by those drawing them. 

Performer now requests one of the gathering to call his assist- 
ant on the telephone. This is done and without performer speaking 
a Avord, to assistant, but upon the spectators, one at a time, asking 
her what the names of their cards is she tells them. 

This is a test I have used for some time and is sure, if worked 
carefully, make the spectators wonder and is also sure to spread the 
entertainer's fame as a performer. 

Like manv good effects the modus operandi is simplicitv 

itself. 

Frame it \\\) with your assistant (yncdUun) what three or four 
cai-ds will l)e selected. Take for example the following persons will 
have the following cards : — 

1st person King of Clulys 

2nd " Seven of Diamonds 

:ird Three of Spades 

l:th " Q}(een of Hearts 

CL'ES : — Mrs. So-and-So sif/iiifics that 4 eards (ire to he )ianied. 

Miss So-and-So sif/nals that S cards are to l)e named. 

To begin with you borrow a deck of playing cards wherever 

you are and shuffle them well while pattering on telepathy 

you get the four cards, in proper rotation, to top of the pack and 
force them, one at a time, on four of the spectators. 

To the party holding the first card to be named (according to 
vvdiat has been prearranged with medium) in this case. King of Clu1)s, 
you ask him the name of the card he holds and tell him to go either 
into another room where there is a telephone or out of the building 
to a 'phone booth and call the hotel where your assistant is and ask 
her in any way he wishes to name the card he holds. 

This is repeated until all the cards drawn are named. 

If only three cards are drawn you say to the spectator, ''Kindly 
call Xoble 185 (or whatever the telephone number is) on the phone 
and ask Miss LaVellma to name your card." (This informs medium 
how many cards have been drawn.) 

Be sure and have the spectators tell you the names of the cards 
they have drawn before they do any telephoning as you want to (un- 
known to them, of course) be sure and have the persons holding the 
cards telephone in the same order as you have agreed upon with 
your assistant so she will be able to name cards in rotation correctly. 



31 



The same stunt can be worked with coins in this way:—- You 
have four quarters in your pocket. The dates are all different. Your 
assistant and yourself know the dates on these coins in a certain 
order. When you borrow four quarters, you change them for the 
coins in your pocket on which the dates are already known. Same 
procedure, as with cards and telephone, is carried out. 



BLACKSTONE'S PENNY AND DIME TRICK. 

Here is a pocket trick worked for some years by Blackstone as 
an impromptu effect. With the apparatus a number of nifty com- 
bination effects can me worked. 

APPARATUS : — A penny is drilled (head side forming the out- 
side of shell) cut on one side so that it resembles a shell coin. A dime 
is filed down to one-half its original thickness, another penny (tail 
side remaining) is also filed down to less than half its original thick- 
ness. The dime (filed surface) and the penny (filed surface) are 
soldered together. The feked coin should just fit into penny shell and 
fit snugly. When this feked coin is in shell same should look like 
a penny with head on one side and tail on the other. 

Now for a little wrinkle ala Blackstone : — Before commencing 
have a tiny bit of good ''magician's wax" stuck to the first fingernail. 

Borrow a dime take either a playing card or a business card 

and place the feked dime (spectator thinks it is the borrowed dime) 
on the table next to shell penny. 

Manage to get the wax from fingernail to one side of bottomside 
of card and stick the borrowed dime on card and immediately place 
card on glass. Of course the business with wax and dime are done 
unbeknown to those watching. 

Now place the feked dime on card with shell penny overlapping 
the dime. 

Now calling attention to the dime and the penny place forefinger 
of right hand on shell penny and slowly cover feked dime with shell 

when shell covers dime press same and at the same time, with 

left hand, pull card a bit to side, causing dime attached to underside 
of card to strike against side of tumbler and coin becoming loosened 
falls into glass thus looking as if the dime has penetrated through the 
card. 

If shell penny and feked dime are well made and shell fits 

snugly over feked coin, you could pass penny for examination. ..... 

better still causually show penny, both sides, then switch it for 

a real penny and toss it carelessly onto table. Get rid of wax on card. 

Numerous other combinations will suggest themselves to the capa- 
ble performer. 



32 



tlieii balance of cards ho holds. Tliis applies to all three gentlemen. 



A ONE MAN CRYSTAL (IAZ1X(} ACT. 

An Act That Has Mani/ Possihilitirs In the Hands of a Clever En- 
tertainer. 

In this method, which may seem almost too simple to an inex- 
perienced i)erf*ormer, there are no cards nor envelopes handed ont and 
positively only the performer himself is in the act. 

Here's jnst an ontline of how the act may be worked : — From 
someone aronnd the clnb or wherever yon are presenting the act, 
yon can get a nnmber of names, addresses and bits of information 
which can be elaborated npon. Yon can nse a crystal ball in this act 
bnt it can be worked withont it. 

This is all jotted down on a card and is placed on a table on 
stage before the act opens. Yon walk on and after a short lectnre on 
spiritualism, occnltism and so on yon prepare to receive information 
from a spirit sonrce. Yon do not tell them yon have snpernatnral 
])ower 01' any other sort of bnnk bnt yon give them to nnderstand, 
even tho yon don't exactly tell them in these words, that there are far 
more mysterions things in the world today than they really know of 

and if they form an oj^inion that yonr method is frandnlent they 

innst admit that it is a bit different. 
Yonr card reads say, 

ANNA CROAL. 23. Loves Children. 

JOHN BLANK. Real Estate Speculator. 

HENRY CROSS. Inventor. 4th row, 6th seat. 

FRANK DESTO. ///. 1652 Blank Avenue, etc., etc. 
Now yon start getting commnnications something like this : — 
I see a tiny spirit hovering over a lady seated ont there whose 
name I believe starts with a C. I get the name Croal. She is abont 
23 years of age and althongh married for some time has no children. 
Am I correct? This lady is very fond of children and there comes to 
me the image of some little child of whom Mrs. Croal is very fond. 
This lady's fondest wish, if it be sincere, will soon make her very 

happy the little one yon love, Mrs. Anna Croal, will grow very 

fond of yon. 

Next comes to me a hazy impression, which I cannot make head 

or tail of. Now it becomes clearer I see a large, valnable piece 

of real estate sitnated in a most important section of this city. In 
connection with this property I get the initials J. B. There is some 
sort of a deal regarding this property now hanging fire. The name of 
John Blank comes to me. Yes, I am snre the deal will go throngh 
and yon will make a lot of monej^ on the transaction. 

Necessity is the mother of invention, so we have all heard. Today 
everybody, who is of an inventive mind, tries to experiment in order 
to bring ont something new and original. There sits a gentleman in 
the fonrtli row, sixth seat who is an inventive genins. He has several 
inventions to his credit and I know that someday Mr. Henry Cross, 
yon will invent something that will reflect great credit on yon. 

On 1G52 Blank avenue lives a pleasant gentleman who has a 



37 



liost of friends. Of late this man has been ill, very ill. He is now 
well on the road to recovery and within a few more weeks he will 
have forgotten entirely that he ever was ill. Mr. Frank Desto I be- 
lieve if you were to stop smoking so much you would feel much 

better. I know it is a hard habit to break but smoking that is 

nicotine does not soothe the nerves as you might think. 

You continue on in this way until the time of your turn is 
ended and if you use care in your readings you are sure to leave a 
marked impression on your audience. 

ANOTHER CARD FROM THE POCKET. 
0. T. GYLLECK 

EFFECT : Performer offers a pack of cards to be shuffled by 
spectators. One of the spectators is then requested to count oft' 25 
cards and to hand them to the j)erformer. Performer then deals the 
cards out FACE DOWN in five heaps on the table. A spectator is 
now requested to select one of the five heaps, and then mentally select 
one of the cards in his heap. This heap is then replaced on the table, 
and the performer picks up the heaps and squares tliem up, and 
again deals them out in five heaps as before. The spectator now re- 
quested to look thru the heaps and indicate which heap contains his, 
mentally, selected card. As soon as the spectator indicates which 
heap contains his card, the performer picks up the five heaps and 
squares them up and then deals them out into two lieaps. The cards 
are always dealt out FACE DOWN. The spectator is now requested 
to shuffle one of the heaps, and then the other. When thru, he is re- 
quested to shuffle the two heaps together. The performer now calls 
attention to the fact that during the entire effect he has not seen 
the face of any of the cards, and also to the fact that as the card was 
mentally selected and that it is apparently impossible for him co 
know what card was selected. He then boldly announces that he is 
going to remove the selected card from the pack, while it is still being 
held in the hands of the spectator. After the usual hokum of remov- 
ing the card invisibly from the pack held by the spectator, the spec- 
tator is requested to count his cards, and he finds that he has only 
twenty-four cards. He is now requested to turn his cards face up and 
note if his mentally selected card is still among his cards. The spec- 
tator announces that his card is not there, and the performer then 
asks the name of the selected card and produces it from his pocket. 

EXPLANATION : The secret of this effect is so very simple that 
is never suspected. In dealing the cards out the first time they are 
dealt out in five heaps of five cards in each heap, that is, deal out five 
cards from left to right, then five more, placing one on top of eacli 
card and so on until the twenty-five cards are all dealt out. A heap is 
now selected by the spectator who also mentally selects a card in this 
heap and then replaces his heap on the table! The performer then 
picks up the five heaps, placing the selected heap in the middle, and 
squares them up and deals the cards out into five heaps again. ' The 
spectator now takes the heaps, one by one, and looks thru them until 
lie finds the heap that contains his already mentally selected card. 
He replaces the heap and indicates that this is the heap tliat contains 

38 



liis card. Tlu^ ])(M'f()riii a«;ain picks up flic cards as IxM'ovc, lliat is, 
placing the selected heap in the middle. This time the peiroi-mei- 
deals off i:> cards, face down, in one heap and then ll* cards in another 
heap. The spectator is then reqnested to take the heap containing 
the twelve cards and to thoronghly shnffle them. As he does so the 
performer sqnares np the remaining heap of thirteen cards and ])nshes 
it towards the spectator, but as he does so he palms otf the toj) card. 
The spectator is then requested to shutt'le the other heap, and then 
to shuffle the two heaps together. While he is doing so it is an easy 
matter for the performer to put the palmed card in his pocket, and 
tlien produce it at the right time. 

PATTER FOR 
THE MYSTERIOUS ENCHANTED CLOCK. 
(The Hindoo Clock Trick.) 

While calling your attention to this crystal creation, I also wish 
to call your attention to the fact that I have, at my ffngertips, what 
is known as magnetic control. 

Placing the hand on the face of this clock, I twirl it so the 

hand shimmies a bit and I ask the hand to kindly stop at 

''Eight." (Bus: of pretending to attract the hand to stop at the 
figure ^'8'' hy aid of hypnotic, short passes.) 

Now to further prove I control this innocent brass hand. ..... 

I wish some member of the audience to call any one of the numbers on 
tlie face of the dial. 

(Someone calls a mimher, hand which has heen taken off the dial, 

is replaced (after setting) and spun. It stops at the number 

called.) 

To further prove there are powers connected with this enchanted 

clock. .... .which we know little or nothing of I shall hang the 

dial upon this stand all polished up to look its best for the 

ladies and taking the hand into the audience together with 

this relic of my school days, a slate requesting some lady or 

gentleman. .... .preferrably some young lady under 96 to write 

any number from one to twelve upon the slate. 

(To lady) Lady this is so kind of you (Hands her chalk 

and slate.) A thousand thanks! AVhat number have you written? 
^'Seven." Very good. Had you written any other number I doubt if the 
experiment would prove successful. 

I shall place the hand on the face of this workless clock no 

T never have to send it to the watchbreakers for repairs a won- 
derful clock to have? You said something that time, sir I 

Twirling the hand about so I step into the audience again 

and order the hand to stop at ^'seven," the number the lady so kindly 
Kselected and wrote. 

(While hand is spinning, performer takes the slate and chalk 

from the lady and goes up onto the rundown.). 

( Clock stops at ''7^% performer shoivs the slate, remarking) "Quite 
beyond comprehension? I'll say so!" 

H9 



Xow (rattles dice and throws them onto trav) I hear 

niY country calling me. I shall request some gentleman to ^'fade" 

me I beg Yonr pardon so careless of me I meant T 

wish one of the gentlemen down here to roll the dice out onto 

the tray when I say so. Hold them, sir. Thank you. 

(Performer goes to clocks takes hand from dial, ^ay dice are 
loaded to fall "2'' and "S'\ He sets hand to "J'' and gives it a 
good spin round, so it ivill continue for a while. Time this part of 
the patter so the clockhand won't stop hefore you stop talking.) 
A little oily music by Omega, professor! (Music) 
Now, sir, kindly shake the dice well and roll them out. 

Ah you are quite proficient in the art of African Golf, sir. 

That's right. Now let us see if the hand will read your mind. 
Concentrate on the number you have rolled. (Music stops.) 
(Hand stops at ''5'\) 

There, sir ''5". Was that what you rolled? I thought 

so. So did the clock. Thank you. 
And now for the final test. 

(^BUS: — Takes hand off clock, lays it on tahle at same time set- 
ting it at tvhatever number card is you crpect to force. For ex- 
ample say the card you are about to force is a ''six'' spot.) 
Some folks say I am a card they are all wrong. I insist on 

being the whole deck. In fact one lady told me, the other evening, the 

card manufacturers had honored me by placing my photograph in 

every pack of cards they put out the Knave! 

At any rate sir, I wish to borrow no money strange 

as it may seem only wish to ask you to please select a card. 

Have you one, sir? 

No don't let me see it but show it to the folks sitting around 

you. 

(Upon stage. Takes up clock hand.) Now, Hand of the Mys- 
terious Eg£) whatever that might mean shimmie a little for 

the customers out front and tell us how many spots are on the 

card the gentleman in the third row, fifth seat, has selected and now 
holds in his hand. 

( Clock stojys at '^sixJ') 

Six spots on the card you selected, sir. Is that right? 
Thank you kindly. 

And by the w^ay the management would like to see you all 

here every week in the same seats. but if you can't come 

send the money anyway. 

I thank you. 

(Bows and exits.) 
(Chord by orchestra.) 



THE HINDOO HOPE TEICK. 
(Sherman,) 

Oft repeated tales of Hindoo miracles, exaggerated, and distorted, 
reach us and the gullible public have come to accept them as true 



40 



tacts. So much so that it is nothing unusual for a disciple of Hindoo 
lore — (who has never traveled any further than Hoboken, N. J. ■ — 
but read up on a lot of the miracle dope) repeat these tales — adding 
a few more embellishments of their own for a good measure. 

These tales of Hindoo miracles are somewhat similar to the tale 
of the amateur fisherman, who came near catching a small minnow. 
On his way home he stopped into a refreshment parlor and partook of 
the cup that cheers. In telling of his luck — he described his catch 
jis a mackerel. Wending his way home he made several such stops, at 
each stop adding a little to the size of his fish. By the time he got 
liome he really believed he had caught a whale. 

So grew these Miracles (?), the most repeated tale being the 
Hindoo Rope Trick. Writers have described this miracle as follows : 
The Hindoo Yogi, after repeating various incantations, throws an end 
of a large coil of rope into the air. The rope remains suspended in 
the air, held upright and taut, by invisible means. The Yogi then 
commands his assistant, a slim boy, to climb up the rope. The boy 
obeys, pulling the end of the rope up after him. Half way up the rope 
he stops. Another incantation from the Yogi, and the boy, rope, and 
all vanishes. 

So is the story told I But there "ain't" no sich animal I 
Those who claim to have seen it, present conflicting testimony. If 
it has been done in India, there is no reason why one of the Yogi 
miracle workers couldn't be transplanted to foreign soil to give an 
exhibition of this far-famed Miracle. Up to present writing it hasn't 
been done. 

And still these students and investigators of Spiritual and 
Miracle Phenomena have spent tidy sums of monej' upon just such in- 
vestigations. 

Hypnotism is an ancient ^torj to the Hindoo Yogi. That is the 
answer to the Rope fable. 

The Yogi — usually performs a few minor magic tricks, (not 
requiring an over abundance of dexterity, as a rule) for the benefit 
of the onlookers, the performance taking place out in the open or 
sometimes in a court yard ; dark, dismal and weird enough to give the 
creeps to the onlookers, let alone the few white mystery-loving sight- 
seers. 

The Yogi during his performance endeavors to gain the eyes of 
his audience. Whether they all fall susceptible to his gaze matters 
not.... two out of three white onlookers might succumb. Yet this 
too, is doubtful. 

Then nothing remains but suggestion! The Yogi does then the 
iiiotions and actions of the fable, suggesting the effect. His little 
performance finishes, the Yogi packs his few bits of paraphernalia 
into his ever ready little bag, more shekels to his gain and moves on 
.... to the next stand. 

Later the onlookers compare notes. The few whites who liave 
succumbed to his gaze describe the miracle. The third positively 
denies seeing any such happenings." He did do it." "No, he didn't !" 
And so the story spreads on and on. 

India, travellers, tell us is the land of many mysteries yet the 



41 



wonder worker of days gone by, Alexandre Herrmann once wrote : — 
'The pupil in Magic could learn nothing by a visit to India. The 
journey would be time wasted. The East Indian juggler never ad- 
vances, never originates.' 

A TRIPLE SECOND SIGHT TEST. 
A Baffler Thai the Clever Performer Can Use As a Feature In His 
iShoiD. 

Madame is introduced, blindfolded and seats herself. 

A number of small cards and envelopes are passed among audi- 
ence by either the performer or an assistant. 

Performer requests that those holding cards shall write a test 
on their cards wdiicli the lady on the stage may carry out such as 
ruffle the hair of a spectator, pull out his necktie, borrow his watch, 
etc., etc. These actions are not forced on spectators. 

Cards are now sealed in envelopes and collected. Three enve- 
lopes are chosen. 

One of the selected envelopes is handed to a s^^eetator seated 
at right side of auditorium and another to spectator seated on left 
side. 

''Begin!" commands the performer, and the medium goes down 
rundown into aisle and performs two of the tests written on cards 
sealed in envelopes. 

Envelopes are torn open and cards extracted and read aloud by 
either performer or one of the spectators. Tests have been carried 
out s^uccessfully. 

Attention is now called to the third envelope (irJiich has heen 
placed in the keeping of another spectator u-ho has held same 
throughout the other tests). Test written on card in this envelope 
is now carried out and to cap the climax Madame calls the name of 
tbe party who wrote that test. 

METHOD : — Our good old friend the velvet changing bag is 
used. A number of envelopes (8 or 10) are collected in the bag. 

In secret compartment of bag are eight or ten envelopes in 
which are as many cards and on all are written the same test say : — 
'Disarrange necktie of the gentleman seated in the fourth seat in the 
fifth row on left aisle.' 

A spectator is asked to take one of the envelopes from the bag 
and after marking it with his own initials to hold it up high so all 
can see it during the experiment. 

Performer now collects a number of other envelopes and while 
going around he will find an opportunity to add another envelope, 
which is already prepared from his pocket and ''force" this envelope 
(;n some lady. Lady is requested to hold envelo])e and not to allow 
anyone to touch it. Card in this envelope contains a prearranged 
test. 

Remember now two spectators have in their keeping two 

envelopes each containing a test which Madame already knows. 

Now conies the part which has to be worked very carefully by 
the performer. 

Performer makes it his business before tlie entertainment com- 
mences to make friends with someone ])resent who knows everybody 

42 



oi' iinportanco. This obliging ])ersoii points out to the entertainer and 
telhs liini the name of one of the most prominent spectators ])resent. 
This is all clone so no one else, of course, knows about it. 

Several more cards and envelopes are now handed out and per- 
former, doing this himself, sees that the ''prominent party" gets a 
card and writes a test. 

NOTE: — The party- s name is given Madame hef ore the show 
opens a))d thru the peekhole in the curtain she is shown tvhere lie 
sits. 

While this '^prominent party" is writing test— performer who 
has a small pad of paper and a small piece of pencil in his right 
hand trouser pocket, stands idly h\ watching what is being written. 
At same time entertainer writes on pad in pocket the gist of the 
test. 

Performer instructs those who are now writing to seal their 
cards up in envelopes and place them in their pocket and not allow 
tliem to leave their possessions. 

Performer goes upon stage and unties blindfold on medium and 
at same time slips her piece of paper he has torn from pad in pocket 
and holds rolled up in hand palmed. She quickly opens it, reads 
and memorizes test. 

Medium already knows the other two prearranged tests as well 
as name of ''prominent party" and his location in audience. 

Performer works the effect up and finally commands the medium 
to concentrate and carry out the tests which are on the cards in en- 
velopes now held by members of the audience. 

When Urst two tests are successfully carried out, performer and 
medium go back onto stage, performer asks spectators to, one at a 
time, open their tests and read them aloud. This is done and audi- 
ence believe Madame to be endowed with the gift of second sight. 

Performer ex]3lains it is all accomplished by aid of thought 
waves. 

He continues pattering, calling attention to the fact that he will 
further convince them as to the wonderful power Madame possesses. 

Performer goes amo^ng audience and in an off-hand manner ex- 
plains he will choose someone to assist him in the final part of their 
experiment. 

He picks out (as if at random) the "prominent party" to assist 

him. 

"Kindly hold onto your envelope, sir, and concentrate on what 
vou have written. Thank you." 

''Eeady Madame," he goes on, ''Carry out, if you can, the test 
diis gentleman has written." 

Music starts and continues playing a soft, dreamy \yaltz. 

Madame goes into audience, once more, and carries out test 
which selected party has written and finally winds up by turning to 
"prominent party" and asking, ''Was the test I just performed the 
one you had written, Mr. So-and-So? (Calling him hy name.) 

Properly worked up and in the hands of two capable perform- 
ers this test will bring forth round after round of appreciative ap- 
X)]ause. 



43 



IT'S A CRUEL, CRUEL WORLD. 



A comedy skit in irhich magical effects arc introduced. 

CAST — 

Miss Lady Ella Billion With a boodle of Dongli. 

Professor Great Beyond A Telepatliist and Seer. 

Dumbbell A Simp His New Assistant 

Townsman 

SCENE — A Large Field. PLACE — Anywhere Just For Fun. 

Before curtain rises, two crashes are heard, followed by the 
noise of an aeroplane motor which gradually dies away in distance. 

Music (Softly played) ^'Goodbye Forever," takes up curtain. 

Discovered: (At rise) Two heaps, centre, which turn out to be 
the professor and his new assistant. Several old suitcases and bags 
surround them. The whole effect to look to audience as if the two 
wer6 dropped from an aeroplane. (This is crplained in the dialogue.) 

Rooster crows off right. Music continues until cue to stop. 

PROF: — (Regains consciousness) My word. . . .such beastly 
treatment. To think of my being subjected to the indignity of being 
bodily hurled together with bag, baggage and my new assistant from 
the Aeroplane Express. 

SIMP : — (Who has also regained consciousness) If you had 
tlie price of our fares we^d never had been dumped liere. 

PROF: — (Rising) Be thankful young man and not ungrateful 
for the place we landed. They could have tlirown us onto pavement, 
hard and merciless. 

SIMP: — (Tries to rise, finally does) Do/ you call this place 
soft? Why man alive I'll have to take my meals standing for the 
next three months. 

PROF : — We still have chances for fame, success and untold 
quantities of gold. 

SIMP: — I'll take a dime for my chances right now. (Angrily) 
You're to blame for all this. (Music stops.) 

PROF: — My lad. . . .treat me with respect. Look upon me as 
your father. It is not I who am to blame. 

SIMP: — (Moans) Gee. .. .why did I ever leave my job. 

PROF: — Job? What is a mere job compared to being ^4th 
me. .me. .Professor Great Be^^ond, the world famous Mental Telepa- 
thist, Seer and Crystal Gazer? 

SIMP : — But I ate three squares a day when I had my job. 

PROF : — Let not a mere thing like eating alfect your love for 
my art. 

SIMP : — But man alive I can't continue to let my love for your 
art grow on an empty stomach! 

PROF : — You are a species of fool. 
SIMP : — But I wish I held my job. 

PROF: — We are in dire straights now but maybe if you were 
to search your pockets you would perchance find a few coppers. 
SIMP: — (Bus. of looking thru pockets. Takes out piece of 

44 



paper and throws it from Mm.) Not even a thin dime. Say. . . . 
where are we anyhow? 

PROF : — Here .... let me gaze into tlie crystal ball .... from 
it's depths I shall learn the name of this place. 

SIMP: — (Gets from hag crystal^ hands it to him.) Go ahead. 
Let's know the worse. 

PROF: — (Bus. with hall.) The clouds gather, behold they grow 
faint.... now they are clearing....! see letters .... yes, yes, I can 
make out some of the letters. Oh, crystal ball, in whose depths on^ 
sees the answers to many hidden mysteries. . . .tell me the name of 
this burgh. Ah I have it. This^town is HELPUS. 

SIMP : — I hope it will. 

PROF: — (Puts hall doion.) See what a wonderful art is mine? 

SIMP: — Guess you're right, professor but. . . .Oh, don't I wish 
I never left my job. 

PROF: — Pick up our traps and I'll hie myself to yonder vil- 
lage and maybe we can with dignity secure food. 

SIMP: — Right you are, Profess. I'm with you there. (Starts 
</athcriug hag gage.) 

PROF: — (Picks up note.) What's this? 

SIMP : — A note I forgot to give you that came to the theatre 
yesterday. 

PROF: — nieadsj and I will be most happy to pay you 

a.ny sum you uiight ask if you will hold a seance for me anywhere 
you may choose. (To Simp) See. .. .that would mean real money 
if it were given me before we left this morning. But wait. . . .this 
envelope is postmarked HELPUS .... Helpus ? Where did I hear 
that before? 

SIMP : — I don't know but if someone doesn't we'll starve to 
death. 

PROF : — I have it. The crystal gave me the name of this place. 
The name was HELPLTg. This letter is from some lady in this town. 
The gods have smiled down upon us once more. 

SIMP : — I've got you. This is the town and all we have to do 
to get hold of some dough is to look up this ^^jane" and hold a se- 
ance, eh? 

PROF : — You have far more brains than I ever gave vou credit 

for. 

SIMP : — Maybe she'll come here. We can hold the seance l ight 
bere and get some money and then we can eat an' everythin'. 

PROF: — Here. . .take this note. . .the address is on it. Hasten 
thou to the lady's domicile .... tell her we will hold a seance here 
and bring her along. Tell her we will work in this place as we 
would not care to come to her house until after dark. Get thou nic- 
est? (Wise wink.) 

SIMP: — I have thouest, most noble sire. (Mock how, takes let- 
ter and exits.) 

PROF : — (Takes from old dilapidated grip, paraphernalia for 
seance.) 

MAN: — (Enters and watches for a second.) 
PROF : — (Sees him) Well, my friend ? 



45 



MAN: — Don't mind me. I was just a-wonderin' what you 
were up to? 

PROF : — Bus. of handling card, with a flourish) My card, sir. 
I may stay here? 

MAN : — You don't look wild enough to take along. Yes. . . .you 
can camp here as long as you like. This here piece of ground is toAvn 
|)roperty and bums and 'nutts' must have some place to stay. 

PEOF : — But I assure you I am a perfectly sane, respectable 
citizen of the United States. I am a professor of mental telepathy, 
crystal gazing and kindred subjects 

MAN: — Wait a minute .... I'll take your word for it. But 
wliat do you do? 

PEOF: — Let me see what size hat you wear, sir. (Man. hands 
him hat and professor takes a nuniher of articles from it (Hat load.) 
(Finally three handkerchiefs are taken from hat and handed to man, 
who is ahout to grasp them when they change into a snake, man he- 
side himself with fright rushes off, with snake folloiving him.) This 
is the silks to snake trick and on snake is a piece of thread ivith a 
hook. Man hooks thread onto his trouser leg and when he rushes 
off the snake seems to he following him,) 

PROF : — (Laughs.) 

SIMP: — (Re-enters.) I've found her, old tinier. 
PROF: — Good. And what is she like? 

SIMP : — Oh, sweet papa ! Some doll ! One look at her face and 
I forgot all about being hungry and sorry about my job! 
PROF : — 'Tis indeed a miracle ! 
SIMP: — Miracle? Nix. Some chicken! ! 

PROF: — Now when she arrives. You behave yourself and 
treat me with respect. Sli! I believe that's her now. 

LADY (Enters) Is this Professor Great-Beyond, the famous 
Telepathist? 

PROF: — I have that honor. Miss. .. .no, don't tell me.... I 
have it Miss Billon. I am charmed to see you. . . .indeed charmed. 

LADY : — This was indeed a surprise to me to hear you were 
in town. You see I have heard so much about you. 

PROF: — You must pardon our quarters here. Nothing but 
fields and more fields. You see a secluded place of tliis sort is the 
best place for spirits to work. 

LADY: — A few demonstrations and you must make your quar- 
ters at my home. 

PROF : — You are too kind. 

SIMP: — Are you married, lady? 

LADY : — Why certainly. Why do you ask ? 

SIMP : — I was trying to read your husband's mind if he saw 
me and the professor in your house. 

PROF : — Let me convince you of my ability. I have time and 
again been asked to give a clear explanation of how I accomplisli 
my astonishing and sensational experiments in psychic telepathy al- 
so how I manage to control the thought waves. I can simply say 
that the eseteric thaumaturgy that is co-ordinate with dynamic 
mentality has a telepathic connection regarding and alluding to the 



46 



synchronomous interpretations of svnomonous psychological thesis. 
LADY: — I see. 

SIMr : — I'd swap all that junk for a piece of custard i)ie. 

LADY: — AVliy, my dear fellow, are you Imnj^ry? 

PROF: — (Infvrrupis fclloir icJto is about to spcuk) lliiii^ry? 
AVhy that fellow is completely under my liypnotic control and ev<'ii 
tho' you, my dear lady, were to place before him a roast turkey, and 
all that goes with it.... would you believe it. . . .he would laugii 
and push it away untasted. 

SIMP : — (Falls doimi.) 

PROF: — Come Simpitis . . . . let us prepare for a few experi- 
ments. 

SIMP: — (Geis up, tics hlindfold around eyes.) I am ready. 
PROF: — What sort of a ring does this married lady wear? 
SIMP : — That's a difficult question. I get the impression of a 
plain band of gold. The lady wears a wedding ring. 
PROF : — See. . . .he never fails ! 
LADY : — Wonderful I 

PROF: — (Allows lady a cheap watch) I shall place this time- 
keeper in my vest pocket, so ... . now .... Kindly tell me what I have 
in my pocket? Quickly! He never fails! 

SIMP : — Five pawn tickets and a bunch of keys. 

PROF: — Correct. . . .no, no. What do I tell the time by morn- 
ings 

SIMP: — The sun. 

PROF : — The thought waves are uneven. 
SIMP : — And my appetite is on edge. 

PROF:— ffo lady) Would you mind letting me take a fiftv 
dollar bill? 

SIMP: — (Aside to Professor) Look out man, don't flash any 
real dough I have a weak heart. 

LADY: — (Hands Professor a hundred dollar hill) This is the 
smallest I have. 

PROF: — (^tacjejers as he takes it) What is the color of this 

bill? 

SIMP : — The spirits are tongue-tied ! 

PROF : — And to further prove what a wonderful mind he has 
I will ask him to atune himself to the surroundings and to tell me 
what I am thinking. 

SIMP : — I can't do that. 

PROF: — And why not? (Pockets hill.) 

SIMP: — She'd call a cop. . 

PROF: — Now if I held a half dollar in my hand 

mMF: — (aside) Stick to bills. 

PROF: — Would a half dollar have any words on it? 
SIMP: — Yes. 

PROF: — What would it say? 

SIMP: — The waves are becoming a bit thick, Professor, and 
as it is so long since I've seen a real half dollar I've forgotten. 
LADY : — What does he mean ? 

PROF : — He means that he is so used to handling bills of large 



47 



denomination that he doesn't care to exert any strength on a mere 
half dollar. 

SIMP: — Exert strength? AVhv man I'd kill an army for two 

bits. 

LADY: — Army? AVhy my husband was an army man and a 
hero. 

PKOF: — So was Simpitis. Wasn't yon? (Aside) Say yes. 
SIMP : — Yes. 

PROF : — And do yon know this young man was decorated for 
bravery too. 

LADY : — How wonderful. 

PROF: — Simpitis .... tell the lady what the captain of your 
regiment said to you after you had shot down three hundred and 
twelve of the enemy? 

SIMP : — He said : "You may go home. Y^ou have killed enough 
for today. 

LADY: — What a wonderful man. I could worship a man like 
you. (to l^imp.) 

SIMP : — Go ahead I'm agreeable. 

LADY: — You will make the study of spirits your life work, 
no doubt? 

PROF : — No, madame. Some day I'm going to retire from this 
business and live like a gentleman. 

SIMP: — That'll be a great change for you, won't it? 

LADY: — (To Sitnp) And do the spirits not guide him? 

SIMP : — Nix. When he gets to communing with the spirits 
good night I When he gets thru with spirits he can't walk. They 
have to carry him. 

LADY: — It must be trying work. (Sighs.) 

PROF: — Have von ever studied mental telepathv? (To ladi/.) 

LADY: — Indeed I have. 

PROF: — And can vou tell me what I am thinking? 

LADY : — I believe I could. 

SIMP: — Then why don't you slap his face? 

LADY: — Mav I experiment on vour assistant? 

SIMP: — Lady. .. .be carefuL 

PROF: — Go as far as you like. (Exits) 

LADY: — (^fo Simp) Do you mind? 

SIMP : — Lady as there is none we can borrow from I am yours. 
LADY : — First I want to know how intelligent you are. What 
is a foreigner? 

SIMP : — One who is eligible to the police force. 
LADY : — What is thirst ? 

SIMP : — Something that is gone but not forgotten. 
LADY: — If I were to give you a ten dollar bill what would 
you do? 

SIMP : — Drop dead. 

LADY : — What would you say to a twenty dollar bill ? 
SIMP : — Something very nice. 

LADY : — Suppose I were to make you a present of a hundred 
dollars 

48 



SIMP : — Lady, are you sure you don't waut your husband 
killed? 

LADY : — Why the idea ! I meant if I were to give you a hun- 
dred dollars for a present 

SIMP : — (Interrupts) (Dramatic music) Lady. . . .lady. . . , 
please. . . .back home I have a dear old mother who loves her way- 
ward son as only a mother can. Do you wish to deprive her of her 
only son? 

LADY: — (Weeps) My dear, dear boy. . . .you must come and live 
with me 

SIMP: — Never. .. .would I take money from a woman 

LADY : — I thought you wouldn't. But tell me how old are you ? 
SIMP: — Twenty-eight. And you? 
LADY : — (Shyly) Twenty-one. 
SIMP:^ — What detained you? (Music stops.) 
PROF : — (Enters) (Starts looking thru tyag) Where's the cork- 
screw ? 

SIMP : — It went to sleep as there was nothing for it to do. 
LxlDY : — I'm deeply in love. Isn't ( to Professor) love a won- 
derful thing? 

PROF : — It IS the most wonderful thing in all the world. 
LADY: — Were you ever in love? 

I'ROF: — ^Ave....I was introduced and was taken up with 

her. 

SIMP: — In an elevator. 
LADY: — And is she clever? 

PROF : — Clever ? I should say so. She is highly educated 
.... speaks four languages, Spanish, French, Swedish and 

SIMP: — (Interrupting) Through her nose. 

LADY : — And were you deeply infatuated ? 

PROF : — From the very first time I laid eyes on her I lost my 
heart 

SIMP : — Then your watch and you blamed me for it. 

PROF : — She's a dear girl. . . .she plays the piano and. ..... 

SIMP : — (In terrupts) Eats onions ! 

PROF : — And her execution 

SIMP : — All in favor say ''Aye". 
LADY : — And was she an actress ? 

PROF : — A wonderful one. In fact I might say without fear of 

contradiction that she is a finished actress 

SIMP : — The first night audience attended to that. 

PROF : — And she's musical 

SIMP : — Otherwise her health is O. K. 

LADY : — In the last town you played was your performance 
appreciated ? 

PROF : — Intensely so. It was summed up in one word 

SIMP : — Schrecklich ! 
PROF : — Which means 

SIMP : — Splendid in Italian. Show the lady some tricks, pro- 
fessor. (Professor introduces several magic tricks.) 
(After tricks.) 



49 



LADY: — Didn't you two linve some trouble in the last town 
vou pla^^ed? 

J^ROF: — AVell, that was notliino- at all. 

ISIMP : ^ — Yet we almost <li 1 six moiitlis a piece. 

LADY: — Tell me about it. 

LKOF: — You see the i)e()i)le thought we were a eouple of. . . . 
ISIMP : — Crooks. 

PROF : — Witch doctors. We could conjure all sorts of spir- 
its 

SIMP : — And they thought we had a still somewhere. 

PROF : — We were hailed into court and the judge, a harsh 
stern man, asked my assistant here. . . .Dumbbell. . . .how we started 

in life and he said 

SIMP: — On a bottle and that we would end on a bier. . . . 
and at the present time due to short skirts and prohibition we were 
all sitting in moiirning for the spirits that hath departed. 

PROF : — The judge said : ''I'll discharge you two this time but 
don't expect to see you here again", and what did you say? (To 

SIMP : — I asked the judge if he was going to resign his job. 
PROF : — And thru his impudence we were requested to leave 
the town. 

SIMP : — And here we are. 

LADY : — I am so sorry. Maybe I can arrange a lunuber of 
piivate seances for you here in Helpus. 
PROF : — I am sure you are too kind. 
SIMP: — And Miss. .\ . . . 

PROF : — Do not address the lady as Miss when you know she 
is married. 

SIMP : — I couldn't be positive. 

PROF : — Why not. Don't you see her wedding ring which sig- 
nifies she is married? 

SIMP : — A wedding ring don't say she's married. 

LADY : — But I am. My husband is a tine looking, tall, strap- 
ping fellow who used to be our heavyweight champion 

SIMP : — Whv did I ever leave mv job back home ! 

PROF: — Is that so? 

SIMP : — (To Professor) Better give her back that 100 dollar 
note you so carelessly i^laced in your vest pocket. 

PROF : — My dear lady, allow me to return this century. 

LADY : — No indeed. Keep that for temporary expenses. As 
you may be in this town for a long time. 

SIMP: — (Nervously) Lady you ain't going to have us sent 

to jail? 

LADY: — How funny. Here my good man (To Simp) Here is 
five hundred dollars for your expenses. I'll go along now. I'll see 
you first thing in the morning. Goodbye, Professor. (Exits) 

PROF : — How would you like to buy my wonderful crystal ball ? 

SIMP: — Could I really see anything in it? 

PROF: — Why with this (Jiolds up crystal) cr^^stal ball you can 
see anything and everything. 



50 



SIMP: — (Bus. of looking at money and then at hall) Maybe 
I'd buy it if I knew what you say is true. 
PROF: — Try me. 

SIMP:— Where is my brother? Can you tell nie that? 
PROF: — Sure he ain't in jail? 
SIMP: — Nope. He's dead. 

PROF : — That's simple. But hrst you must let me have a little 
money. 

SIMP: — I thought so. (Hands him hill.) 

PROF : — ( Gazes into crystal ) Your brother has departed from 
this earth. 

SIMP : — Wonderful ! But what I want to know is where is he 
.... up or down ? 

PROF : — I can see him near the gates of Heaven. 
SIMP : — How did he get up so high ? 
PROF: — Flu. (Flew.) 

SIMP: — Marvelous. Just where is Alphonso . . . . that is how 
far is he from the gates of Heaven? 

PROF : — I can see him plainly. He is thirty-two feet from the 
gate. 

SIMP : — Can you bring him any closer ? 
PROF : — More money so I can fix it up with the spirits. 
SIMP : — (Hands him another hill) Going. . . .going. . . . ! 
PROF: — (Gazing into hall) Now he is four and a half feet 
nearer. 

SIMP : — Gee. . . .that bird travels slow. 

PROF : — Now he is eighteen feet from Heaven. 

SIMP: — (Excitedly) Can you bring him any nearer? 

PROF: — (Hand out) More money, please. 

SIMP: — (Hands another hill) Now where is he? 

PROF : — He is three feet from Heaven. 

SIMP: — (Very excited) Can you bring him any closer? 

PROF: — More spondulicks, please. (Hand out.) 

SIMP: — You really mean he is only three feet from Heaven? 

PROF : — That's it. Only three feet. 

SIMP : — Then if he can't jump that far let him go to hell I 

PROF : — How dare you swear. . . .and before me too ! 

SIMP:^ — How did I know you wanted to swear first? 

PROF : — So you don't want to buy my mystic crystal sphere ? 

SIMP: — Nix.*^ (Thinks aloud) Gee I'm hungry again. With 

this dough I can get 5,000 orders of ham and eggs, 12,000 squash 
pies 

PROF : — Now that you have that much money left what is tlie 
first thing you're going to do with it? 

SIMP : ~ Count it! (Starts counting money.) 

CURTAIN 

BY THE WAY 

In this budget I do not necessarily aim for original effects. 
]\Iany of the effects contained herein are original or have been given 



61 



original treatment, others have been contributed and the verbal 
mind reading code taken from one of my scrap books. 

No matter how old an effect may be if it is given a new "dress" 
and worked up differently it is well worth looking into and given :i 
trial. 

Professional entertainers appreciate this but there are some 
persons, claiming to be magicians, who belong to the "wiseacre" 
class who never could nor ever will be able to do even the most sim- 
ple magic tricks correctly. This type usually bother magicians by 
paying them visits "back stage" at the theatres where the profes- 
sional is playing. This nuisance fishes around for information. 
Should they get any, they store it up for no practical purpose but 
use it to explain to their friends how this and that trick or illusion 
is worked. 

This t^^pe even go further. . . .they belittle a real performer's ef- 
forts and are always first in a rush to tell their friends "just how 
certain effects are worked." 

All professionals have met this type of undesirable wlio does all 
lie can to floor Magic for the count. 

Books are not written for this sort but are written and pub- 
lished for those who are or some day will become our professional 
entertainers. 

8hoid(l yoii meet in yonr travels, an earnest stiKlent. . . .earnest 
in his desire to be tauglit tlie nidinieuls of oiir Ari. ,..help him 
along, give him the benefit of your own experience. If he is the 
right sort he will appreciate your efforts and be thankful for the aid 
given him. 

Wielders of the Magic Wand, whether professional or amateurs, 
l)and together and eliminate the undesirable type of magic "informa- 
tion leeches". Aid at all times in boosting Magic and in this way the 
art of the conjurer will go on more appreciated, more interesting, 
more entertaining, and more mysterious than ever. 

More power to it! 




T. NELSON DOWNS, "King of Koins" 
Whose beautiful act is — "poetic in conception and enchanting in its performance." 

52 



BREAKING INTO THE VAUDEN ILLI] (JAMF. 



K)H)irh'(l(/r and Inside Dojx' WliicJi Will Aid llic AiHdiciir To J*r- 
(ODic (I iidcrillc Artiste. 

I have received nninerous letters from people in all walks of 
life asking me how one goes about it when they wish to adopt the 
vaudeville stage as a means of livlihood. 

^lany I have answered personally but not having the time to 
write all who I have received incpiiries from, my publisher lias re- 
([uested me to Avrite sometliing that may prove of value to tlie cleNer 
amateur who has decided to ''break into vaiide\ille" with an act. 

No matter whether you wish to become a professional magical 
entertainer, ventriloquist or present a sketch, playlet or monologue 
on the vaudeville stage there are certain things you should know 
])efore you start out trying to get a vaudeville agent to handle 
(book) your act. 

First it is advisable for you to have an act arranged by 

someone who makes a specialty of this sort of thing as he, with 
plenty of experience in back of him, knows about what a vaudeville 
manager, agent and audience washes. 

There are magic acts in vaudeville who struggle along from year 
to year and then again the same applies to many other variety acts 
now appearing on the vaudeville stage, some delighting, others tir- 
ing vaudeville audiences who as a general run are the most exact- 
ing audiences of today. This is due to the fact that patrons of 
vaudeville theatres see so manj^ different acts a year that they soon 
learn to appreciate good work and have little, if any, sympath}^ 
with mediocre turns. 

True .... in many theatres we see acts which are termed by 
^'gallery gods" putrid. When you see an act you think is very bad 
look at things from their standpoint a bit and figure out whether it 
is the performers themselves, their vehicle or conditions under whicli 
the are working. The layman cannot appreciate the many difficul- 
ties under which at times vaudevillians work. 

We have all seen acts with clever performers who have a worth- 
less sketch or playlet and thus their efforts are completely "left in 
the shade." 

The first thing the amateur must consider when he wishes to 
become a vaudevillian is he must have the proper act. . . .no matter 
of what sort. . . .to enable himself to do that which you can do the 
best. 

No matter what kind of an act you wish to ofter. . . .be it a crys- 
tal gazing, magical, comedy or dramatic playlet, monologue or pat- 
ter act. .. .consult someone who understands this sort of work. It 
will pay you better in the end to have an act prepared to suit your 
individual talent. 

Some actors think they can write their own material and that 
it is far better than a script they may have written by a specialist 
in this line. This may be true at times but very seldom. 

Actors sometimes think they know it all and the writer of stage 
material finds this type to be so charged with ''temperament" that 



53 



they sidetrack them whenever they can. And who can blame them? 
There is few ailments known to the hnman body that can be classed 
nuich worse than "artistic temperament" and "swellheaditis." 

Suppose you are convinced you have marked ability along cer- 
tain lines of entertaining .... the first thing to do is to "frame" np 
an act that runs from say twelve to twenty minutes. Your act, 
specialty or turn, must be entertainment full of life and be able to 
hold the attention of a blase vaudeville audience all the time you 
are on the stage. It is certain to bore an audience and slangly 
speaking "get their goats" if you insist on stalling or posing. 

If you have twenty-two minutes of material cut out some of 
your stuff and leave only the "meat" of the act in. Should it be a 
magic act cut the "stalling" and posing of yourself or your assist- 
ants and work fast and aim to work every trick you do up to a cli- 
max which will leave them guessing and this will bring forth the ap- 
plause. 

Should you have ten tricks on your program, after you break in 
the act, watch closely and cut out two or three effects keeping in 
onl}^ the effects that seem to you, judging from the appreciation of 
the audiences, worth while. 

Whatever you do, in a magic act, don't tvj to convince an audi- 
ence you are clever. I have seen a bungling magician who was a 
clever comedian, go over far better than a clever sleight of hand 
artiste. Managers and agents will tell you the same thing. 

An audience wants to be entertained and if the performer shows 
tliem he is an entertainer they are satisfied and vote the act, by 
their appreciative applause, a hit. 

To become a success in the vaudeville field one must have an act 
that is just a little better than what audiences have always accepted 
as the best. Get it? 

Unlimited rehearsing is necessary before an act is even tried 
out before an agent. Agents, at times, are a fussy lot and seldom, 
if ever, admit to a performer his act is good. Most agents are self- 
styled judges of acts. Some really are real judges others should 

be plumbers! 

And the same thing, in a different light, applies to performers 
who appear in vaudeville. The vaudeville stage is infested and over- 
llooded by third rate, mediocre acts of every description. Careful 
managers try to book recognized turns or acts they have seen them- 
selves for their theatres but recognized turns and really good new 
acts are kept busy and their salaries are, most times, far beyond the 
pocketbook of the average vaudeville theatre manager. 

After you have your act well rehearsed and fitted up to please 

the eye (a "flash or sight act," as w^ell dressed acts are called 

that is acts with appropriate scenery and other paraphernalia) you 
will have to "try-out" the turn before an audience and several agents. 
The agents will pass judgment on the turn and will see if the act can 
be used by them. Many acts never go beyond the try-out stage. 

Should your act receive a few weeks booking or routing over a 
circuit at a price consider yourself in luck and do all you can 



54 



v,iiil(^ playing to fnrtlior improve youv act so ollicv liiiic ov hookiiins 
will be forthcoming. 

(let all the agents, representing the ditl'erent vandeville book- 
ing agencies, you can to witness your act Avhen trying out and in 
the larger cities w^here agencies are located, w^here you may be play- 
ing. Get your act known. Advertise a bit publicity will do 

you a lot of good. . . .never any harm. 

Some agents will want you to go over their '^time" at a small 
salary. Watch your step. It is all w^ell and good to work your act 
for a couple of weeks to break in at a salary about covering expenses 
but after the '^break-in" period don't ask a million dollars for an act 
you know very well is worth a couple of hundred but make a reason- 
able price and hold out for that price. What has hurt the business 
is acts who needed money and work for almost anything so long as 
they keep working. This sort of thing may look fairly well on the 
face of the stories highly colored which are told by so-called per- 
formers but when a man's pocketbook becomes strained his diges- 
tion and liver as well as disposition become badly out of tune. 

If you meet a vaudevillian and he tells you he '^knocks 'em 
dead" or ''otf their seats" wherever he plays and then tells you he 
has a four year route don't hesitate but GIVE HIM THE AIR! ! 

To secure a try-out either call personally (which is best if you 
can be ushered into the presence of His Highness the Agent) on the 
man you think is best suited to handle your act or write him re- 
(juesting an interview^ and if the interview is not forthcoming later 
follow up by requesting a chance to show him your act. 

Your stationary (letterhead and circulars) must be attractive 
and well printed otherwise they will receive little^ if any^ consider- 
ation. 

And don't get the idea that the life of an actor is all roses. 

Acting, in no matter what line you choose, is hard work and to 
get a real foothold on the ladder of sttccess in any line you must be 
prepared to work hard, indtistriously and with the aim of becoming 
a real success, in view. 

Don't lose courage and don't lay down at the first disappointment 
you receive. Up and at it will win the game. Rome ^vasn't btiilt 
over night and our foremost vaudeville stars battled continually along 
the hard road to success wdiich is not lined with roses but heartaches. 

The game is worth while once you get a good foothold. and 

to attain that foothold is all up to you. 

To sticcessfully present and ''put across" a magic act you must 
be both a clever showman and a clever exponent of conjuring. To 
(piote an old, very much used saying: ''It isn't so mtich what you do 
as how yott do it." This holds true in any sort of entertaining. While 
on the stage you mtist be an actor at all times w^hethei' you are vMiact- 
ing the role of a "ntitt" or a "straight" entertainer. 

Develop your talent no matter what line of entertaining 

you chose. Allien you can do a few tricks and mystify the folks at 

home or the friends you may meet at a party don't get the idea 

into yotir head you are ready to adopt the stage as a profession. Re- 
member your friends ARE your friends and they will do or say nothing 



55 



^Yllich will hurt your feeliugs but a vaudeville audience will not 
spare your feelings any more than you in your chatter may have 
spared the feelings (could they have overheard you) of some of the 
acts you may have witnessed. 

Acts carrying their own scenery usually get more money than 
those depending on "house stuff." Dress your act up well. Proper 
hangings enhance the value of an act in the eyes of an audience. 
Of course the way you dress your act is all up to you and your 
pocketbook. Use judgment and horse sense in everything. 

No matter what folks may say an actor will tell you it recj aires 
far more ability to walk out in "one" (before a house drop) and put 
over an entertaining act than it does to have a full stage setting with 
all necessary props and other paraphernalia. By this I do not mean 
you don't need talent to put a richly fitted-up act across. You need 
ability at all times and the more ability and business knowledge you 
have in show business the more chance of success you will have. 

Don't copy the other fellow's chatter or his tricks. If you work 
a sketch don't plagarize the other fellow's lines or bits of business. 
What he may put over to big returns you may fall down hard on. 

It isn't what the other fellow "pulls" in his patter but the man- 
ner in which he says it. What is one man's bread is the other fellow's 
poison. 

Avoid being a "hammer artist" (knocker) . If you think the other 

fellow isn't any good and his efforts are nil forget it. You may 

not think he is good and a thousand others may vote him the clever- 
est ever. 

In a magic turn for vaudeville rapid fire stuff is what the public 
demand. They want something doing every minute. A vaudeville 
audience loses interest when a performer walks off to ''load" up for 
another trick. If you must make an exit after an effect to obtain a 
'"load" rehearse your act so your assistant can arrange tables or some- 
thing of this sort to kill the wait. The best magical entertainers re- 
main on the stage from the rise to the fall of the curtain. 

After your act is ready to show an agent go to some reliable 

photographer and have some photographs taken of your complete act 
(if you have a stage setting) and some of yourself and your assist- 
ants. While in vaudeville I used only photographs of my hands doing 
^ arious stunts. Whatever you do don't have photos taken of your 
hands exposing a palmed coin or billiard ball. The public as a gen- 
eral run have become too familiar with "palms" and "passes" thanks 
to the mediocre so-called magician who bungles his sleights so fre- 
quently that his efforts may fool himself but not his audience. 

Dress well on and off the stage and act the part of a gentleman 
at all times. Two-thirds of the stories told of the profession are of the 
cock-and-bull variet}^ and you will find just as many ladies and gentle- 
men behind the footlights as before them. 

Say you have all the scenery and properties needed in your act, 
your assistants properly rehearsed, and your own end to your satis 

faction obtain a number of engagements to get yourself and 

your people used to an audience as well as in this way getting things 
to run a bit smoother. Do this before you attempt to secure a pro- 



56 



{'essional try-out. Yon will be glad you heeded this advice when the 
try-ont night takes place. Familiarize yonrself to working before an 
andience and if yon become used to large gatherings and at all times 
endeavor to practice and further perfect yourself in your work you 
will enjoy performing. Keep your wits about you at all times and 
should something unforeseen occur don't marr the effect but quitting 
cold but finish it in some way you think best. Many things happen 
to the best of us when before an audience and when something does 
l)api)en it usually is something you have never thought woubl take 
])lace. 

Nerve isn't the main standby of the vaudevillian. Many acts have 
unlimited nerve and "crust" and little else. This is the sort who 
usually end their professional engagements at the end of a season 
I if they last that long) owing themselves money. 

Use the brains God gave you at all times. Plug hard and boost 
yourself to the very best of your ability along the hard road of suc- 
cess. 



PATTER ODDS AND ENDS. 

(Open ing Patter) 

(Chord hriugs performer on) 

Ladies and Gentlemen: — (Or start ioith Cash Customers : — ) 

I am not here this evening to sell you oil stock or chewing gum. 

My intention is to endeavor to entertain you with a few feats of 
digital dexterity (or: — experiments in pure sleight of hand). 

I shall try to prove that the well known saying: ''the closer you 
watch, the less you see," is not true and should be "the closer you 
watch, the more you think." 

Your attention, please. 

(Into first trick.) 

(BITS 0' CHATTER FOR COIN WORK.) 

(Note: — These remarks should te introduced as the performer 
sees fit.) 

Not real money but it goes quick enough I 

My wife refused to allow me to have her picture on these coins. 
She said she wouldn't be thrown around by anyone. 

(Just before last coin is made to vanish) Time, tide and money 
await no man. Time flies. Tide rises and falls. And money, the 
curse of all evil quickl}^ vanishes leaving no trace behind. 

Awful simple. Simply awful ! 

If dreams would only come true I wouldn't have to do this 

for a living. No, siree. I could shine shoes or run cities. 

Any seven year old child, after twenty-two years of practice can 
accomplish these effects. 

The closer you watch the more yon think. 

Up my sleeve? Correct! If you don't believe it Avatch the next 

one. 



57 



The last town I played in ihej said my act was ''Bchreoklich" 

which means GREAT in Italian. 

There is a ladj-'s head on every coin. That's becanse money 
talks. All it ever says to me is ''goodbye" ! 

I haven't been doing this trick all my life no, not yet. 

This is contagious. It's a catching trick ! 

These coins belong to me. I got them honestly. Honesty is 

a lost policy. Yet the law never sleeps unless it's out on 

it's beat. 

Speaking of honesty. If everybody was honest we wouldn't need 
policemen Wouldn't that be a terrible blow to Ireland? 

I learnt this trick while cashiering in a bank. The boss was 

sure the way I'd wand up so he put up some bars before my 

window. He wanted me to get used to them. But I fooled him. In- 
stead of breaking into his bank I broke out. And that's why I'm here. 
(For Needle Trick.) 

My wife likes this trick. She says I talk less when I do this 
one. I told her I'd like to have her learn it. 

A sure cure for indigestion. 

I had a plank steak last night. It Avas hard as a brick. I told 

the waitress I couldn't swallow planks. She said, "Uo on Sure 

you can. I've seen you swallow needles." 

I'm a driver by trade. I used to drive a truck down the main 
thoroughfares Now I drive needles down ni}' stomach. 

I keep alive doing this. Now and then I stick a needle into my 
tongue I know I'm alive! 

(Points to leader (violinist) (Points irith needle) Deep joke. 
See the point? (To audience) He sits down there and fiddles, , , , for 
175.00 a week. My union demands that I get ^^500 a week. Truth 
is it's a weak 500. 

To do this stunt you have to have, a package of needles and a 
ton of nerve. 

(Coin gag) He fiddles (indicating violinist) for a living 

so do I. Fiddling with coins makes me feel like a millionaire. I'd be 
a millionaire if these coins were real money. 

(Thimhle trick) I used to do this trick very well when I was a 
kid and got spanked. Now I do it much worse. . . .and get paid. 

Thimbles are like rabbits. They multiply quickly. 

I used to vanish all my wife's thimbles. She needed them back. 
So she taught me to make them reappear. 

A thimble in time cancells a sore linger. 

Tliese are silver thimbles. If you doubt it ask AA\^olworth. 

I got this trick out of the Birth Control magazine. 

Life is what we make it and thind)les are as we buy them. 

When I grow angry I see red. (Produce red s^ilk.) 

Do you feel the bill in the handkerchief? No? Oh, I see what 

the trouble is You are using your left hand, tliat's wliy you 

can't feel right. 

Stand still. (To assistaiit on stage) Don't get nervous. Tliere's 
no "still" around here. 

Look out. You'll break that glass. I don't care if you break 



58 



Iho Eio'liteonth Ameiidmeiit but not tlie glass. Tan you soo IliiMi 

it? Tlie "lass, of course. 

Now I shall sing. No, (to assistdiif) don't get ready to run. It's 

not as bad as all that worse! My wife is also musical 

otherwise her health is o. k. She's a kitchen Tettrizini. Sings while 
she washes dishes. In fact music comes natural in my family. My 

brother started vocalizing when in his cradle and he is a finished 

musician the neighbors attended to it. Now as I have told you 

some of mv family history let's go on with the trick. (Continue with, 
trick.) 

(As you go along) 

I might say I performed this experiment before President 
Harding was elected. 

You might call this an experiment in spiritualism, hypnotism, 
rheumatism or any other ''ism." 

I could explain how this effect is accomplished but I 

haven't time. 

I could explain how this eff'ect is brought about but you Avouldn't 
understand it, if I did explain, any better than I do. 

I did this trick before Sarah Bernhardt ever thought of luaking 
farewell t(mrs. 

Not having the least idea as to just what I am about to do I 
trust you will aid me to the best of your ability. 

AVhen a magician marries he has to add the 'Catching Money 
ironi The Air' to his repertoire. 

(After catching a feio coins) They say money talks nue, 

but all it ever says to me is "goodbye." 

(Almost misses catching a coin) Mistakes will happen. That's 
the coin's fault. I never make a mistake. There's no eraser on the 
end of my pencil. 

I miss them once in a while to prove they are not tied together. 
There goes another. I'm all right the world's all wrong ! 

Before they call the wagon let's go. (Exit). 



A VEKBAL CODE FOR MIND READING ACTS. 

While looking thru mv scrapbooks I came across the following 
VERBAL ]MIND READING CODE. This m one of the best verbal 
codes that has ever appeared in ]3rint. I have placed it in this budget 
i'S many Performers and students may find it tiseful. The code is 
not by any means new and has been used by mind reading acts tor 
many years but is well worth the time and trouble it takes to ac- 
(piire it. 

This system of Mindreading or transmission of messages by 
(uiestions is based upon the following set of Avords, Avhich form, — 
THE SYSTEM — 



£9 



I Means — 1. PLEASE Means — 0. 

GO Means — 2. WILL Means — 7. 

CAN Means — 3. NOW Means — 8. 

LOOK ..Means — 4. NOW THEN Means — !). 

QUICK Means — 5. FAVOR ME Means — or 10. 

NEXT .... Means to Repeat Previous Figure. 

EXAMPLE : To tell a person's age. Performer asks a person 
their age, and Medium answers. Supposing the question was put to 
a boy and he answered 15 years old. The performer addresses Medium 
as follows, — "I (1) want this boy's age, QUICK (5)" ANSWER - 15. 

ANOTHER: "WILL (7) you FAVOR ME (0) by telling this 
man's age. "ANSWER — 70. NOW THEN" (9) — ANSWER — 1). 

COINS. If a coin is handed the operator and of the 18th 
century, give the code words for the LAST TWO FIGURES ONLY. 
If the 19th century, use the word "COME" in addressing Medium. 

EXAMPLES : "NOW THEN (8) WILL (7) you tell the date on 
tills coin." ANSWER — 1897. "I (1) want you to tell this date." 
ANSWER — 1801. "COME (1900) tell me this, I (1) want you to 
FAVOR ME (0)." ANSWER — 1910. 

Learn these two codes first. They are the simplest and best 
to first commit to memory. 

HIGHER NUMBERS, BANKNOTES, RAILWAY TICKETS, 
ETC.: — EXAMPLES: "CAN (3) you PLEASE (6) FAVOR ME 
(0) with the first three numbers on this ticket." ANSWER — 360. 

"NOW THEN (9) NEXT (9) PLEASE (0) tlie last three." AN- 
SWER — 996. TOTAL — 360996. 

COLOR CODE: I means Red, the 1st color. 

GO means White, the 2nd color. 

CAN means Blue, the 3rd color. 

LOOK means Black, the 4th color. 

QUICK. . means Green, the 5th color. 
PLEASE means Brown, the 6th color. 

EXAMPLES: "I (red) want to know the color of this gentle- 
man's tie." ANSWER — "RED." "LOOK (black) at this, what is 
the color?" ANSWER — "BLACK." "GO (white) on, tell me the 
color of this," ANSWER — "WHITE." 

DAY CODE — Is the same using the first seven w^ords of the 
code and calling them as numbers — Sunday — first day ; Monday — 
second day; etc., etc. EXAMPLE: "LOOK (4) at this and tell me 
what day it was published," ANSWER: "WEDNESDAY" (because 
the word "Look" is the only code word used in the sentence and it is 
tlie fourth rode word and Wednesday is the fourth dav of the week.) 

MONTH CODE — Use the same as Day Code, but tlieir are 
twelve months, in the code the words "FAVOR ME" would be used for 
the tenth month — October, then add the words to the code — "JUST" 
— for 11th month ; "HURRY" for 12th month. 

EXAMPLES : "LOOK (4) the month" ANSWER — "APRIL.'' 
Because April is the fourth month and "LOOK" tlie fourth code 
word. "COME (12) answer." ANSWER — "DECEMBER/' 

METAL CODE : — Gold — 1 ; Silver — 2 ; Copper — 3 ; Brass — 
4 ; Iron — 5 ; Tin — 6 ; Aluminum — 7 ; EXAMPLE : "GO (2) on, the 



60 



metal" ANSWER — ^'SILVER" because ''GO" is the second code 
word, and SILVER the second metal. 

PIPE CODE : — Amber — 1 ; Meerchaum — 2 ; Briar — 3 ; Clay 

— 4 ; Bone — 5 ; Cherry — 6 ; Composition — 7 ; Horn — 8. EX- 
AMPLES : "CAN (3) you tell what this pipe is made of?" ANSWER 

— "BRIAR." (CAN being third code word, and BRIAR third article.) 
"I 1 want to know the mouthpiece." ANSWER — "AMBER." 

COINS : — Penny — 1 ; Nickle — 2 ; Dime — 3 ; Quarter — 4 ; 
I'ifty cent piece — 5 ; Dollar — 6 ; Two dollar and half gold piece ■ — 
7 ; Five dollar gold piece — 8 ; Ten dollar gold piece — 9 ; Twenty 
dollar gold piece — 10. 

PLAYING CARDS: — SUITS: Spades — 1; Clubs — 2; 
Hearts — 3 ; Diamonds — 4. 

VALUES : To be used with the same code words as the months, 
and for the KING, or thirteenth card, use the Word "KINDLY." Use 
the 11th code word for JACK, and the 12th code word for a QUEEN. 
EXAMPLE: "LOOK (4) at this card, CAN (3) you tell me tlie 
value," etc. ANSWER : "4 of Hearts." 

FAMILY CODE : — Father — 1 ; Mother — 2 ; Brother — 3 ; Sis- 
ter — 4 ; Son — 5 ; Daughter — 6 ; Uncle — 7 ; Aunt — 8 ; Nephew — 9 ; 
Niece — 10 ; Grandfather — ■ 11 ; Grandmother — 12 ; Step Father — 
13; Step Mother — 14 ("I CAN'T") ; Fatlier-in-law ("I WILL") ; 
Motliev-ii) law ("I NOW"). EXAMPLE: "I CAN'T (14) understand 
why yon liesitate, tlie relative "ANSWER;" "STEP-MOTHER." It 
will be no led tliat I his gives us by easy stages a set of code words for 
sixteen articles, etc. 

COUNTRIES: — America — 1; Canada — 2; England — 3; 
Germany — 4 ; Italy — 5 ; France — 6 ; Russia — 7 ; Ireland ■ — S ; 
etc., etc., make up your own code of countries, 

NAME CODE:" — Williaui — 1; Albert — 2; George — 3; Ed- 
ward — 4 ; Harr}^ — 5 ; Claud — 6 ; Stanley — 7 ; Jim — 8 ; etc., etc., 
run list out to suit ^^ourself, using code words of alphabet which will 
be explained later on. 

It is advisable to memorize this far before proceeding further. 
A lady is best for these tests as a woman seems to be able to read 
the questions better than a man, who is naturally able to ask them. 

NAME CODE (Ladies) : — ^ Arrange as for gentlemen's names. 
('aSVc note near end of chcrpter.) 

ALPHABET : — Use the letters of tlie alphabet in conjuction 
Avith the code, we now have sixteen code words, and the sixteenth let- 
ter of the alphabet being "P" we commence at "Q" using the code 
words from here on as follows "Q" — "I WISH" ; "R" — "I W^ON- 
DER" ; "S" — "I THINK" ; "T" — "I BELIEVE" ; "U" — "THIS IS 
HARD"; "V" — "THIS IS EASY"; "W" — "DON'T HESITATE"; 
"X" — "DON'T DELAY" ; "Y" — "COME NOW" ; "Z" — "COME 
HURRY." 

This gives you a code word for the entire alphabet, and if you 
liave memorized each section as you came to them the mastering of 
this will be easy. This is generally used in sentences, or better still 
for telling initials on cards, hats, umbrellas, signate rings, etc. 

EXAMPLE: "I WONDER (R) if I (A) CAN (C) get you to 



61 



read this." ANSWER — "K. A. C." "Yes that is the initials, but CAN 
(C) I (A) get the man's name in full. I A¥ONDER (S). I BE- 
IJEVE (T) you are perplexed. HURRY (L) QUICK (E)." AN- 
SWER: ''The man's name is R. A. CASTLE." 

Thns it will be seen tliat this is the most perfect code of sig- 
nals yet devised for this purpose. The next thing to memorize will 
be a series of article codes, when using these codes^ supposing the 
performer is in the audience, the Medium on the stage. He can give 
her the signal for which code he intends using, then touch them in the 
same order as they are memorized, this can be quicldy done and gives 
a great effect. He codes the group to use — then number in group. 



ARTICLE CODE GROUPS. 



Group No. 1 

1. Coin. 

2. Watch. 
Chain. 
Medal. 
Charm. 
Matchbox 
Cigarette. 
Pocket Book 
Pouch. 



3. 
4. 
5. 
6. 
7. 
8. 
9. 



Group No. i 

1. Pen 

2. Pencil. 
Letter. 
Post Card. 
Stamp. 
Program. 
Newspaper, 
Umbrella. 
Gloves. 



Group No. 3 

1. Key. 

2. Ring. 

3. Pawnticket. 

4. Railway 

ticket 

5. Streetcar 

Ticket 
Money Order. 
Bank Book. 
Comb. 
Cigar. 



Group No. 4 

1. Hat. 

2. Tie. 

3. Purse. 

4. Cap. 

5. Handkerchief 
G. Book. 

7. Purse. 

8. Broocli. 

9. Si3ectacles. 



etc., etc. 

Thus you see you have almost forty articles divided up in groups 
which worked b}^ the questioner, by the first ten words of the code (or 
on up — according to length of each list of articles prepared) enables 
the Medium to answer. 

The following code is now brought into play for classing the 
various groups and articles. If jumping from Coins or anything else 
direct to Playing Cards, the Medium must know therefore tlie follow- 
in q' code is used. 



CHANGING CODE. 

'COMMENCING" 
"PROM HERE" 
"THE LIGHT IS BAD" 
"EXCUSE ME" 
"VERY MYSTIFYING" 
"STRANGE" 
"WONDERFUL" 
"THAT'S RIGHT" 

The sets of words and sentences can best be laid down by the 
actual performers, whom may have mannerisms and sentences pecu- 
liar to themselves, and as it is better to act natural in every way. 

The above code would be used as follows : Suppose you had been 



Going into .FAMILY CODE, use the words — 

" LADIES' NAMES, " " " — 

" ' " GENTLEMEN'S NAMES, " " " — 

" PLAYING CARDS, " " " — 

" ARTICLE CODE - GROUP No. 1, " " " — 

" 2,' " " " — 

" " " " " 3, " " " — 

" 4, " " " — 



62 



working reading a card, and wanted to go into the article codes. Yoli 
would simply walk up the aisle of the theatre a little and make the 
remark ^'STRANGE isn't it." This gives the Medium the cue ^— then 
proceed as before, the cue meaning that you are going to work the 
article code (Jroup Xo. 2. Then proceed as before, desiring to change 
10 Group Xo. 1), use the Avord "WONDERFUL" something like this — 
^'Everyone admits this is WONDERFUL." Or again — "You are cor- 
rect, THAT'S RIGHT/' which is the code sentence for Group No. 4. 

FIGURE READING. 

Figure reading is accomplished in the same manner, and is the 
easiest of all, tho combination tricks may be indulged in. All that is 
necessary to do is to have a blackboard on the stage, have one of 
a committee write a sum and the Medium adds it up one column at a 
time. The performer giving her the cue in the questions asked. Then 
liave a figure crossed off the board, the Medium can answer. This 
idso applies to writing down figures — writing down words. 

Numbers on paper money ' (bills), etc., can be transmitted to 
Madame in this way. 

Note.- — To transmit names of people Performer can transmit 
the proper names such as Smith, Jones, etc., by spelling out the name 
with code to madame and for first names make a list of a number of 
names, say 50, and have the names numbered. Shoot the code word 
which means a certain number for the name and for a lady's name 
use, ''The name," and for a gentleman's, "Tell the name, etc." When 
starting on names of people let madame know what you are about 
to do by using say, "Your attention, please, Madame" wliicli informs 
the medium you are going to transmit names. 

Silent cues come in handy at times. Here are ten silent cues : • — 
(1) Tap with foot on floor;' (2) Shift left foot toward front: (3) 
Place right hand in pocket; (4) Place left hand in pocket; (5) Cough 
slightly; (0) take out handkerchief; (7) Slightly pull up left sleeve; 
(8) Glance at watch; (9) smooth hair; (10) Drop right or left hand 
to side. To repeat last number snap fingers in a nervous manner. 

There are a number of acts using a verbal code but only a few 
who are so proficient that they can transmit anything. It takes a 
lot of practise to j)erfect a verbal code but when well worked it is a 
great deal better tlian some electrical methods now on the market. It 
all depends on the performer and his medium. 



AN ILLUSTRATED FAIRY TALE. 



In Reality a Monologue With a Pack of Playing Cards. 

The King (K. C.) is a mighty man and a Princess fair (QH) 
gives her heart (AH) to him. 

The King pledges himself to her, as lovers do, and tells her that 
had he many hearts (lOH) he'd give them all to her. 

A cousin of the King, a Knave of the deepest dye (J. S.) , nidcd hy 
l;is boon coinpniiioiis (50, 2S, 4C), plans to get the ri iiiccss fair into 
his power. 

The brother of the mighty monarch (KS) overhears the villians 
at the clnb (AC) discussing their plans to kidnap the Princess. In 
this fiendish plot they will be aided by two serving maids (QD, QS) of 
the royal household. 

At the stroke of 4 (4S) the procession of blackguards move off 
for the palace. 

Creeping up to the castle the villianous band, armed with clubs 
(7C, 8C), move cautiously. Suddenly the Captain (KD) of the castle 
guard appears but is quickly overcome. 

One trusted guardian of the castle gate (KH) proves himself a 
knave (JH) and allows the band to pass after things seem at sixes 
and sevens (6S, 7S). 

Overhearing a noise the inner Diamond Guards (3, 5, 7, 8, 9D) 
investigate and discover the intruders. 

They are overpowered by the Diamond Guards who prove their 
true worth. 

The captives are brought into the presence of the King. "Go 
forth and prepare their graves," commands the Monarch of the Land," 
and in the meantime lock the conspirators in the darkest of tlie 
dungeons." 

Several men (JD, JC) are detailed, with spades (3S, 5S), to go 
grave digging. 

The King realizing what peril the Princess has been in proposes 
to her and presents her with a necklace of six beautiful (6D) dia- 
monds. She consents to become his queen. 

Wedding bells peal forth their joyous tune and the King and 



64 



Princess undergo that magical feat wherein two are made_ one. 

Shortly after the ceremony couriers (9S, 6C, 3H) appear before 
his majesty with ill news the knaves on the eve of their execu- 
tion haA'e made their escape. Then there is the deuce (2C) to pay. 

The King orders his men to recapture them he Avill lead his 

troops. 

While the King is away two strange messengers (IOC, 9C) ap- 
pear before the new made Queen bearing a message on a tray (3C) 
and before (4H) she opens the message she becomes suspicious of 

these men, both of whom are of dark (lOS) complexion as there 

are but few dark complexioned men employed about the palace. 

The King and his men have been gone five (5H) days. The 
Queen becoming very lonely for her lord and master finds timv. 
jianging rather heavily on her hands. She decides she will read 

the note which she does and finds it is from some other Queen 

\ QC) who lives on the Isle of Love. 

This arouses her jealousy and of course there is a tendency 
,10D) to (2D) quarrel. 

But luckily when the King returns his Queen is so haj)py to see 
him that she forgets her anger but asks liim for an explanation of the 
note. He denies all knowledge of another Queen. Someone :lrom 
Holland has been trying to get him in Hutch ! 

Says the King, "You are my one diamond (AH), a jewel of price- 
less value and tlie only queen in the wliole pack for me." 

(Run tliru rest of cards in hand sJion-'uif/ no moyc quccnx.) 

Then folding lier in his arms, tlie mighty monarch and liis iK'auti- 

ful Queen dream dreams of what might be (fan six small cards) 

and all's well that ends well. 



VEXTRILOQUIAL PATTER ACT FOR STAGE OR CLUB VEX- 
TRILOQUEIL ENTERTAINERS EXTITLEH 

JUST IX FUN. 

Few hars of a catchy nuniljcr opens act. Act worked in "one/' The 
Ventriloquist walks o)i from R. 1st E., without figure, sings one rerse 
and chorus of a topical song. If entertainer has a strong singing 
■voice act may he opened tcith a hallad. During song voice from 
R. 1. E., calls ^'Hey.'' This voice calls at intervals, while song is Iteing 
sung. Ventriloquist must make it seem to audience that it is his 
jjoicers of Ventriloquism ivhich cause the voice to appear from dis- 
tance. This is done by a little acting and a hit rjf showmanship. (I)i 
reality: — a stage hand standing in R. 1. E., in a disguised voice 
ichispers the ''Hey.'') AFTER SONG. (Vent: — Ventriloquist. Fig: 
■ — Figure.) 

VEXT : — (Speaking to someone off stage, R. 1. E.) ., I'll fix you 
for interrupting my singing. (Starts R.) 

VOICE : — (Off R. 1. E.) Was that singing? 
VEXT : — Certainly it was. 



65 



VOICE : — Then for the love of Mike DANCE ! ! 

Vent: — (Goes R. 1. E., comes hack carrying figure.) The idea! 
You sure are as rude as you can be. 
FKI: — (Is made to squirm.) 
A^ENT: — AVhat's ailing you? 
FKI : — (Wails) I want to go home ! ! 

VENT : — Don't be nervous. All those people out there will be 
vour friends if you behave. 
FIG: — My friends? 

VENT : — Yes your friends. 

Fig : — Will they loan you money ? 

VENT : — Certainly. 

FIG : — Will they ever get it back ? 

VENT : — Never mind — 

FIG : — But they will. 

VENT : — Now behave. 

FIG : — Will they loan me money too ? 

VENT : — Certainly not ! 

FIG: — (Howls) I want to go home! ! 

VENT : — Tell me do you like (localize) f 

FIG : — Sure. 

VENT : — This is some place. Fine food good hotels 

good 

FIG:^ — ( / ntarupting) Booze. 

VENT: — No. You can't get a drink in this town. 
FIG: — Been out looking this morning? 

A^ENT : — Say, remember the town we played last week ? Do you 

know with all the saloons in that place you couldn't get into a 

saloon there on Sunday. 

FIG: — No they were too crowded. 

VENT: — What was that little song you were singing in the 
dressing room? 

FIG : — (Title ) -I Don't Know." 

VENT : — Have vou already forgotten it ? 

FIG: — I Don't 'Know. 

VENT : — Too bad. Don't you remember it ? 
FIG : — Sure I do. 

VENT: — Well what was it? 

FIGI : — I Don't Know. 

VENT: — (Angrily) Are you showing me a good time? 

FIG : — Nope. (Winks at audience) . 

VENT : — Then tell me the name of that song. 

FIG : — I Don't Know. 

VENT : — You know but you don't know. Is that it ? 
FIG : — Sure. I Don't Know. 

VENT : — Oh, I see. Your memory is shorter than 

FIGI: — (Interrupting) Ladies' skirts. 

VENT : — Please sing that song for me. 

FIG : — What me sing in front of all these folks ? 

VENT : — Certainly. 

FIG: — (Howls) I want to go home! ! 



66 



VENT: — Come now be sociable sing that little tune 

for us. 

FIG: — (Sings) (Any tunc) There was a girl named O'Rell, 
Who, while walking down (localize) street fell, 
She got up with a bound, looked all around, 
And said in a loud voice, '^Oh, Hell !" 
A^ENT : — (Puts hand in front of figure's mouth. Ad Lih stuff 
for figure in muffled tones.) Here! Here! How dare you swear and 
light before these ladies, too. 

FIG : — Well, how did I know they wanted to swear first ? 

VENT : — If I ever hear you swearing again why I'll 

I'll • 

FIG :— What'll you do ? 

VENT : — They'll send you flowers but you'll be unable to smell 
them! 

FIG : — Is that so, you big lobster ! 

A^ENT : — Lobster ! Well of all the nerve ! 

FIG: — You think I'm afraid of you, eh? 
VENT : — Of all the impertinence ! 
FIG: — Can the salve! ! 
VENT : — Quiet ! 
FIG : — Go on ! ! 

A'ENT : — Open vour mouth once more and vou'll get hurt ! 
FIG : — And whihl do it ? 
VENT : — 1 1 

FIG : — And how manv more? 
YK'ST:— (Hits figure.) 

FIG: — (Corned I) Bus. IToirls) Now I'm goin' home! ! ! 
VENT: — Next time you'll know enough to behave. Say, by the 

v. ay I've bought an automobile. 

' FIG : — Ain't that nice. 
VENT: — Why don't yon wish me luck with it? 
FIG : — I'm waiting to And out what kind it is. 
VENT: — Why are you waiting to find out what kind it is? 
FIG : — So I'll know whether to laugh or sympathize. 
VENT : — And at last election I also won a nomination. 
FIG: — Honestly? 

VENT : — - Never mind. You're a bit too inquisitive. I'm head 
of the Inquiry Board. Now I'd like to ask you a few questions. 

FIG : — Go as far as you like. 

VENT : — Where were you born ? 

FIG : — I ain't particular. 

VENT : — Who was present at your birth ? 

FIG : — My aunt. Mother was at a whist party. 

VENT : — You will have your jokes. Did you ever stop to think 
where some jokes came from? 

FIG: — Where'd you say you were born? 

VENT: — Have you lived all vour life in (localize)? 

FIG: — Not yet.' 

VENT : ■ — I heard von were made in Europe. 
FIG: — No, sir. U. S. 



67 



VENT : — Oh, then you were made in the good old United States. 
FIG : ~ No. 

VENT : — But you just said tou were born in U. S. 

FIG : — Sure. U. S. Up Stairs ! 

VENT : — You're a wise cracker, you are ! 

FIG : — I was in the army. 

VENT : — You were ? 

FIG : — Sure. One day I killed 300 huns. 

VENT : — What did your commanding officer say when he heard 
you had killed 300 huns? 

FIG: — He said, ^'Soldier go home. You've done enough 

work for one day. 

VENT : — Say are you married ? ■ 

FIG : — Nope. I'm in business for myself. 

VENT : — Do you ever pay income tax to the government ? Of 
course you know all about taxes. 

FIG : — Sure. Galveston Dallas Houston ! 

VENT: — Not Texas! Taxes! 

FIG : — How stupid of you. 

VENT : — Now (Taps figure on face.) 

FIG: — (To Orchestra Leader: — ) Look. He wants to play 
with me! 

VENT : — If you had |20,000 and were married you could save 
one thousand dollars. 

FIG : — It ain't worth it ! 
VENT : — You're quite clever. 

FIG: — Say boss let's hear you sing us a song. 

VENTRILOQUIST SINGS ONE VERSE AND CHORUS OF A 

POPULAR NUMBER. 

AFTER NUMBER. 

VENT : — I sing with feeling. 

FIG : — If you had any feeling you wouldn't sing. 

VENT : — You look kind of sad. 

FIGI : — I am. 

VENT: — What makes you sad? 

FIG: — I found thirty dollars this morning and something 

else. 

VENT : — 130 ? That ought to make you happy. But tell me 

what else beside the money did you find? 

FIG : ~ The man who lost it ! 

VENT : — I shall recite 

FIG : — (Hoiols.) I want to go home ! 

VENT: — You can easily stand this recitation. (Recites) The 

v/orld was sad and lonely As I walked along the way That 

led to my beloved one Who ...... 

(Interrupting) (To leader) When do the moving pic- 
tures start? 

VENT: — Why do you interrupt me? 
FIG: — To save your life. 



68 



VENT : ^ — ^ Say Tommy. .. .where do you live? 
FKjt : — How did you know my name ? 
VENT : — Why I just guessed it. • 
FIG : — Then guess wliere I live. 
VEN: — Were you. ever in love? 
FIG: — How do you make love? 

VENT: — You sit beneath the moon, with your sweetheart by 
vour side. . . .and you hold her hands 

FIG: — (Interrupting) So she won't take your watch. 

VENT: — Yes. . . .so she won't take your watch. . . .No, no! Be 
serious. Love is serious. 

FIG : — So is smallpox. 

VENT: — What's the use? Say.... on the way to the theatre 
this afternoon I was half killed. 

FIG : — Why do you always do things by halves ? 
VENT : — But you haven't told me where you live. 
FIG: — You've seen the blue cars on the street? 
VENT : — Certainly. 

FIG: — Well. . . .you take one of those cars and ride for half an 
hour. Then you know where the car turns the corner? 
Vent : — Yes. 

FIG : — Well .... did you ever notice that white house with the 
large lawn and green shutters? * 

VENT : — Oh, yes. And there's a high fence in front of the 
house ? 

FIG: — Yes, that's the one I mean. 

VENT: — Certainly. . . .1 know that house well. 

FIG : — Well l\lon't live there. 

VENT : — fiJ/ts- ilgure.) 
FIG: — (Yells) i want to go home I ! 
VENT : — I got my life insured last week. 
FIG : ~ For how much ? 
VENT: — Ten thousand dollars. 
FIG : — Ten thousand of you aren't worth it. 
VENT : — Is that so. And when I die half my fortune goes to 
charity. 

FIG : — Who gets the other dollar ? 

VENT: — What was that argument you had with that actress 
while I was making up? 

FIG : — She said she was in a stock company once and could 
lake off everything. 

VENT: — AVell....of course. .. .she could. Stock ])layers can 
play all sorts of roles. But what did you two argue over? 

FIG: — (^lowUj) She said she could take off everything 

VENT: — Well? What did you say to anger her? 

FIG : — I told her to go ahead. I had no i3lace to go. 

VENT : — Wh}^ you insulted that lady. You must make amends. 
You must humblv apologize to her. 

FIG: — What's in it for me? 

VENT: — Why we men must show the ladies respect. 
FIG: — How can we when they vote? 

G9 



VENT: — If it wasn't for the women. . . .how would we be? 

FIG : — Better off ! 

FIG : — Imbecile ! (Hits him) 

FIG : — (Hoivls ) I want to go home ! ! ! 

VENT : — (Imitates and tries to catch a fly). 

FIG: — What's ailing you, Hortense? 

VENT : — There's a horsefly bothering me. 

FIG : — Horseflies only bother jackasses. 

VENT : — Do you mean to insinuate that I am a donkey? 

FIG : — No sir. I didn't call you a donkey. 

VENT: — No but 

FIG : — Nor did I say you w^ere a jackass. 

VENT : — Oh, I see. Then you neither called me a donkey 
or 

FIG : — No I didn't. But you can't fool a horsefly. 
FINISH WITH SONG OR 
RECITATION. 




SUPPLEMENT. 
TWENTY MINUTES WITH THE SPIRITS. 

A Feature Vaudeville Specialty Either Worked in '^Three'' or Full 
Stage. A Modern So-Galled Spiritualistic Feature for Vaudeville Or 
Vhih Entertainers, 

To the Magical Entertainer 
Showmanship is one of the most important assets in any line of 
theatrical work. 

A good showman is more appreciated than a world-beater in 
sleight of hand. Yet the sleight of hand man is adrift in a rough sea 
when he faces his audience unless he is a showman. 

Twenty Minutes With the Spirits is the sort of act audiences 
enjoy and the act in the hands of a showman will, as we have it in 
the parlance of the stage, ''make 'em sit up and take notice." 

To put this act over to obtain the best results the Performer 
MUST be a showman and fully understand how to register every 
point with an audience. 

A hit-or-miss performer will never attain any real, lasting suc- 



70 



cess altlioiigli he may continue trying and now and tlien working 
thru either pity, or paying some second rate vaudeville agent for his 
vrork. This sort of performer is the kind that is fast ruining tlie 
sl)()w business. . . .but a la Kipling. . . . that's another story. 

The successful magician is always a first rate showman. Cxood- 
showmanship puts over almost anything. But the clever entertainer 
who is a showman to his fingertips and has the right kind of an act 
. . . .even tho he has his ups and downs. . . .will eventually reach the 
topmost rung on the Ladder of Success. 

TWENTY MIXI TES WITH THE SPIRITS 
House lights out. Footlights dimmed. And)er flood thrown 
onto drop. 

Orchestra plays a wierd oriental fantasy with cynd)al clashes 
and thunder roars, etc. 

House drop slowly rise disclosing black velvet front drop. 
Music works up forte dies down gradually. 

Music stops. Chime back stage tolls twelve. On the fifth stroke 
music plays a few bars of another wierd fantasy. 

Drop slowly parts in centre, performer steps to footlights (drop 
closes after him.) 

Performer delivers a short introductory speech in which he ex- 
plains the marvels of lllusionary matters. 

Performer exits L. 1st entrance, after introductory speech. 

Music. 

Curtain parts in centre and drapes up disclosing: 

Stage set in -^three" or ''fulP\ black velvet drop, clear stage. 

Everything is in darkness until Performer enters. Then lights 
on stage full up. 

Stage hands wheel out a wooden platform on which rests spirit 
cabinet in sections. 

Stage hands erect cabinet on top of platform and a committee 
of from six to ten are requested to step upon the stage. 

Committeemen are placed on all sides of the cabinet. 

A bell, tamborine and revolver are placed on floor of cabinet, 
after several of the committee selected by members of the audience 
go into cabinet and look it over. 

Curtains are dropped and bell is heard to ring, tambourine is 
heard to play but at am^ time one of the committeemen requests the 
curtain of cabinet to be opened his request is carried out. 

Suddenly hands are seen flitting here and there from front of 
cabinet. Performer requests hand to remain still, and he selects a 
riiember of committee to go to cabinet and take hold of hand. (Much 
fun is created with this as they are afraid.) When someone does 
take hold of hand it is found to be that of a woman and a living 
hand which moves and shakes hands. In order that the entire audi- 
ence may see this bit of business and to further heighten the efl'eet 
Performer calls for "spot'' to be thrown onto the cabinet and liand. 
Committee man lets go of hand and like a flash Performer throws 
open the front curtains of cabinet, spotlight still on it and shows 
that the cabinet is empty. 

Curtains are again closed and committeemen call out which in- 



71 



stmnieut should be heard , the bell or the tambourine. Manifesta- 
tions again take place, during which the hands make their appear- 
ance again, the revolver is fired and thrown from cabinet and one 
after another six bowls of flaming fire are handed from cabinet to 
performer. 

Cabinet front is again thrown open, spot playing on it all through 
these manifestations and cabinet is again proven to be empty. 

Then Performer asks committee if they now believe in spirits. 

Performer explains that for the benefit of those who are still 
thinking of trap doors, etc., he will further convince them that there 
is no such thing. 

Stage hands bring forward a roll of thick carpet which they 
place on stage, rolling cabinet onto same. Committeemen assist. 

Cabinet is again examined. 

A small trunk is brought on, together with some rope, a can- 
^ ass cover, mail bag and several pairs of handcuffs. 

Stage hand brings forward a slate, thick piece of w^ood, several 
large nails, hammer, pair of slates, pack of cards, bell, tambourine, 
horn and thick piece of rope. These are placed on small skeleton 
glass top table. 

Performer introduces his assistant (Male). Assistant is hand- 
cuffed, placed in a mail bag which is securely locked and then sack 
is placed in a trunk which in turn is also locked, a canvas cover is 
placed around trunk and tied. Trunk is then placed on platform 
over which is cabinet and bell, nails, hammer, board, tambourine, 
rope and cards are placed on top of the trunk. 

Front curtains of cabinet closed. Suddenly hands are seen dart- 
ing here and there from cabinet. The bell is rung, tambourine is 
played, hammering is heard and the piece of wood is thrown from 
cabinet with nail thru it, the hammer is thrown out. Someone is 
then requested to call any name. This is done and slate is handed 
out of cabinet with name written thereon. A pack of cards are 
shown and several selected by committee and duplicates of these are 
handed from cabinet without a word spoken. Kope is next thrown 
from cabinet and contains several knots. Suddenly curtains on cabi- 
net open on their own accord and committeemen are at liberty to 
examine the ropes, etc. Then the curtains are once more drawn. Per- 
former requests orchestra to play, shot is fired from interior of cabi- 
net, curtains are thrown aside by Performer and assistant, a charm- 
ing miss, steps from the cabinet bowing her appreciation for the ap- 
13lause. 

Quickly, if time permits, several stage hands rush from wings 
and assist Performer and the committeemen to untie and unlock the 
trunk. 

This done, the trunk is found O. K., the ropes untied and all 
right, the bag still locked, when unlocked, the handcuffs are still in 
the bag. 

Cabinet is quickly taken apart, while members of the audience 
are thanked and bowed off stage and performers bow their apprecia- 
tion to the applause which is sure to follow. 

CURTAIN 



72 



MODUS OPERANDI 
AND 
PATTER 
INTRODUCTORY PATTER 
PERFORMER comes on in "one". 

PERFORMER 

Ladies and Gentlemen: — 

Before beginning my part of this evening's entertainment I 
wish to say a few words regarding the wonders of illnsionary mat- 
ters. 

By that I mean tilings that really are not, yet seem that they 
leally are. 

What yon will see during my act may, no doubt, to many of 
you, seem like Black Magic. Maybe it is. . . .most likely it is not! 

I lay no claim to possessing supernatural powers. Nor do I 
claim to have snatched the secrets of my work from the other side 
of the Great Beyond. 

This is what I would like to tell you but I know you wouldn't 
believe me, nor could I blame you. 

But. . . .at any rate. . . .no matter what solution you may arrive 
at, I trust you will be entertained. 

Before commencing I wish to ask you all one favor. It is that 
after you see what you will see. . . .please. . . .please. . . .don't tell 
your friends how these later day mysteries are accomplished. 

I thank you. 

(Boivs off Left First Entrance.) 
(Orchestra starts playing an Oriental strain.) 
(Amher spotlight (synall) plays on center of curtain.) 
(Curtains slotcly, after gong striking 'business, sloidy drape up- 
ward.) 

(Spot gradually groivs larger and larger, until it floods as large 
a portion of stage as possible.) 

PERFORMER 

(Enters, L. 1. E., steps to footlights.) 

To make my performance a success I wish to borrow, ladies, 
four or more of your sweethearts to act as a committee. 

I assure you, ladies, I shall return your gentlemen to you in ex- 
actly the same condition as when you loaned them. 

Come, gentlemen, you are among friends. .. .you know it's the 
chance of a lifetime to get up here. . . .here's your chance. 

Step along, sir. Thank you. You start and I am sure others will 
follow. Right along, sir. 

(A. running line of this sort of patter is kept up until four to 
six men come on stage. You shake hands tvith one of the nioi 
(plant) and after tapping him on the hack ... .hand him hack his 
watch. I have always found this hit of husiness sure to get a good 
laugh.) 

(To save time you could have a couple of men ^'planted'' in the 
audience ivho come up first thus giving others more nerve to come 
up and assist you.) 



73 



(While you are pattering and coaxing committee onto stage ^ stage- 
hands or assistants are erecting cahinet. Amber spot or flood on, 
stage.) 

(Cahinet stands on platform icith sides and front throu^n over 
top so full rieic of cahinet can he obtained and cahinet can he seen, 
right thru.) 

DESCRIPTIOX OF CABINET. 

The cabinet is made of one-half inch piping, with corner joints 
and fonr bars at top for frame. The whole thing unscrews and 
comes apart for packing. The piping is arranged in lengths of three 
feet, with threaded ends so it can be easily and quickly put together 
on the stage in full yiew of the audience. Be sure the cabinet is 
made so it will stand firm. A shaky cabinet is dangerous. The 
cabinet resembles the ones used by ''handcuff kings" but much more 
elaborate. The sides and back of cabinet are sewn at top to top of 
cabinet. The one I haye is made of satin. At each of the lower cor- 
ners of the sides and back are pieces of black, strong tape. These 
enable the sides and back to be tied down to side posts. The front 
is made of thick plush with a top piece coming a foot-and-a-half 
down from top. On this is eight-inch silyer fringe. The sides and 
back of cabinet, as well as the front extend down to platform and 
when tied are carefully stretched a bit to insure committee from 
witnessing what they should not. 

THE PLATFORM. 

The platform is an ordinary affair made of fairly thick wood 
put arranged in two sections, front and back join together by small 
bolt-like joints which lock thus enabling assistants to wheel it 
around. Rollers are affixed in each leg. 

The trick part of platform is that about four inches from back, 
on under side of platform, there is a spring roller arrangement on 
which is hung a piece of black yelvet to match back curtain which I 
carried by act. When this curtain is pulled down (it touches stage 
when pulled down) the spectators belieye they can see right under 
platform straight back to back drop. But of course, this is not so. 
This roller attachment is arranged and set into bottom of platform 
and after platform is set up assistant or stage hand pulls it down in- 
to place. A heayy iron rod is sewed into bottom of this curtain 
which (curtain) comes down flush with stage floor. 

Care should be taken by the performer and assistants that no 
one walks in back of this platform while roller shade is down. 

(After cahinet is set up, Performer gives cue for stage lights full 

up.) 

TNTRODUCINa 
THE ASSISTANT INTO 
CABINET UNSEEN BY AUDIENCE. 
The assistant (lady) who performs all the mysterious spirit 
antics in the cabinet but of whose presence the audience should never 
be let in on, makes her entrance into cabinet in this manner: — 
Back sides and top pieces, are already tied securely into place wlien 
pushed out on platform by assistants. The assistant (lady) is at- 



74 



tired in black velvet suit and bloomers. She is crouched on platform 
with back piece or wall on top of her and other parts of cabinet ar- 
ranged so spectators wall not get suspicious. The amber flood cov- 
ers up the shape on platform but great care should be taken. The 
back wall, after curtain in bottom of platform is pulled down, is first 
put into place and during the setting of this wall into place the lady 
gets down onto stage floor. This is a touchy bit of business and 
great care should be exercised while putting it over. A slip would 
ruin the entire act. Be careful those in the boxes can't see too much. 
This may sound a bit hazy or complicated but by careful working 
this part during rehearsals the performer will get the correct idea, 
AYhen possible have the lady assistant working this part of your 
show of small stature. Tall people are seldom used to good advant- 
age as assistants in illusions, etc. 

Now comes some more touchy work and needs j)lenty of rehears- 
ing. As soon as cabinet is erected the lady assistant still laying on 
floor, back of the roller curtain, performer asks some one of the men 
on the stage to step into the cabinet. This gentleman is your ''plant", 
hired in the city where you are playing. He must be well rehearsed 
as to just what and what NOT to do. He should be instructed to 
examine cabinet carefully. After examining interior of cabinet he 
is asked by performer to "kindly examine the sides and rear of cabi- 
iiet as well. The platform is large enough that assistant or "plant" 
may walk around it. "Plant" does this and while he is doing so the 
performer draws the front curtains together. The "plant" moves 
the draperies at sides and back of cabinet and then returns to the 
front and examines the top, etc. 

During this the lady gets up from the stage floor and carefully 
gets into cabinet. Your assistant or a well rehearsed stage hand 
immediately looks around cabinet at bottom and ties the tapes to 
the standards or side piping. 

The lady now having made her way into the cabinet, takes from 
her bosom a curtain of the same dark material as the sides and in- 
terior of cabinet. This curtain has two hooks attached to ends and 
is hooked into place on bars forming top of cabinet. This is put up 
into place about a foot or two from cabinet back. This is hung in- 
to place quickly and the lady must remain very quiet while behind 
it ^s when front curtains of cabinet are thrown open the least little 
movement might be discovered by some person with good sight. 
(Lights are full up now.) 

Assistant gets back of cabinet and, while plant is examining it 
well, raises curtain under platform into place. Now the plant or 
any of the other members of the committee are allowed back of cabi- 
net, etc., but not near it. 

Now cabinet front is thrown open by magician and the specta- 
tors think they can see the back wall drapery but as you, Mr. Magi- 
cian, know audiences, many times, don't really see one-half of what 
they believe they do. 

The "plant" is asked again to enter cabinet, which he does. Per- 
former taking care he doesn't monkey with rear fake wall. Asist- 
ant now returns to where other committeemen stand. 



75 



Cabinet front is now closed. 

Performer now groups committeemen aronnd cabinet. 

Stage hand or assistant brings on a small table on which is a 
tambourine, a large bell and a revolver, which the performer loads 
with blank cartridges which you carry in your pocket thus avoid 
mishaps or worse. 

PERFORMER 

I shall place these articles in the cabinet. (He does so and they 
are heard to fall 07ito floor of jjlatforjn.) Now gentlemen .... I 
know you don't believe in spirits .... unless they come well corked up 
in glass bottles. Am I right? I am. But maybe you will change 
your minds when you hear the syncopated jazz band direct from the 
Great Beyond (names small nearhy town.) 

It is a bit dry here. In fact the whole country is dry. . . .unless 
it has recently rained and I want you men to have lots of courage. 
It's my buy. (Hand shoots out from cabinet front holding hottle 
and a glass. This bottle the assistant has had on her when making 
her entrance unseen into cahinet.) 

There is but one glass but perhaps the spirits in the cabinet 
.... not the bottle .... will send up a few more from the spirit pan- 
try. (Hand shoots out several more glasses.) 

Thank you. So kind and thoughtful of you. 

(Pours drink for the men who want it.) 

Pretty good stuff even for these times, what? 

(Assistant takes glasses and hottle off.) 

Now as we have had some refreshments let us now have a little 
music. 

(Lady assistant in ca'binet has piclxed up the hell, tambourine 
and revolver. Upon tvord of command she violently rings hell, 
thumps tamhourine, then fires revolver. Quick as a shot she drops 
the articles onto floor of platfoym and gets hack hehind the false 
flajj or curtain.) 

(Performer throws open curtains at front of cahinet and the 
various articles are seen lying on floor.) 

(Plenty of rehearsing will enable assistant to do all the stage 
business rapidly and in a clean cut maitner.) 

PERFORMER 

Nice and quiet now, what? Sure thing. The spirits belong to 
a union of their own. So much music and then intermission. Now 
let us once more close the curtains. ... as the spirits only work in 
the dark.... like second story workers and other aristocrats! (To 
one of the men) You, sir, stand here. (Performer buttons strip of 
velvet across front flap to keep it from opening u)WJ'pectedly.) Now 
for some more spirit manifestations ! 

Lady assistant, in cabinet, again gets to front of cabinet and 
waves her hands up and down at top, centre and bottom of flap ( out- 
side). (Site manages to hit the man standing in front of cabinet 
on the head or cheek. This gets a laugh. 

PERFORMER 

(Speaks in an impressive manner.) Spotlight! (Light is throunv 



76 



on upper part of front flap.) (A hand is seen to wave loildly from 
top of flap.) Hark ye! You of the Spirit AVorld! You who have 
passed over the line of living things into the Great Beyond ! I com- 
mand 3'ou to rest! (Makes hypnotic passes in direction of hand.) 
You are becoming tired .... your hand begins to grow heavy .... rest ! 
(Hand, thru flap, hangs In midair.) (To men) Gentlemen .... here 
is your chance to hold a hand. Step up, gentlemen! Be brave! 
Grasp the hand ! Mabe it's the hand of someone you love dearly. You, 
sir! Grasp it! Fondle it! 

(Performer ''kidds'^ the committeemen as they, headed hy 
''plant" are afraid to take the hand.) 

PERFORMER 

O spirit hand. . . .point to the one you like he^t\(Hand points to 
one of the men on stage.) . .You, sir. Kindly step up and shake 
hands with the spirit. Don't be afraid. The hand hasn't any teeth. 
It won't bite you. Etc., etc. 

(One of the men shakes the hand. If no one else tvon't the 
''plant" does. He holds it, cuddles it, etc.) 

PERFORMER 

Here you ! Let go ! Too much of a good thing isn't enough for you I 
(Hand shoots in cabinet, t)ut a tvooden hand which appears to audi- 
ence to he the real thing is again shoved out.) Do you think you 
are in the parlor with no one around watching you? You have made 
many a man here this evening, jealous. Then again, shame on you ! 
Look at all those people out there watching you. Now take hold of 
it ^gii\i\.('' Plant" grabs it, hand hits him lightly in face. Comedy 
husiness.) ("PhDtt'' walks (tn-dy. Performer takes hand, and, goes 
to ''plant".) Here. . . .yon are so fond of it hold onto it. The spirit 
says you may be nice bnt you sure do treat 'em rougli! Is tliat true? 
(Hands liand to ''plant'' irho takes it, examines it, looks sheepish 
and hands it to someone irho lays it onto tahle.) 

(Performer goes toward cabinet, jerks quickly the front curtain, 
aside, spotlight plays into cabinet and it is seen to still contain the 
bell, tambourine and revolver.) 

Stagehands are now ordered by performer to close front draper- 
ies and wheel the platform around in spotlight (this is done very 
va re fully) and finally it is left standing on other side of stage. 
Front, of course, toward spectators. The performer can explain that 
this is done to prove the absence of any traps, etc. 

White spot, which has followed cabinet, now changes to green. 

Performer now closes the front curtains of the cabinet. MUSIC 
CUE. 

PERFORMER 

Select one of the articles on the floor of the platform. The bell? 
(Or whichever it is) Very well. You wish the revolver? And you 
the tambourine? Very well. Now do as I tell you. I want you three 
. . . .one after the other. . . .to each call the article selected when I 
count ''three". Now ready! One. . . .two!. . . .Two and a half! ! 

(Comedy business here as men will call the articles tvhen two 
and a half is called.) 



11 



PERFORMER 

No .... no ! I said when I counted three ! Now let's do it again. 

Now keep your wits about you ! ( Counts) One ! . . . . Two ! I 

THREE! ! ! (Stage hand stands ready.) 

One man calls ''tambourine". .. .this is heard to slam and is 
thrown from cabinet. The same business is repeated with bell and 
revolver. 

Then in rapid succession six small fire bowls are handed from 
cabinet by the spirit hands. 

Performer taking these and handing them to assistant who 
hands them in turn to stage hand who carries the one after the other 
into wings still blazing. (These can he loaded in hy lady or can he 
handed in hy assistant under cover of change from white to green 
spotlight.) 

Performer pulls aside curtains, spot still playing on it, and the 
cabinet is again proven (?) to be empty. Again it is examined by 
one of the committeemen under the watchful eye of the entertainer. 

Aim for comedy throughout these manifestations. The commit- 
teemen will furnish the laughs in a great many instances but the 
glib tongue of the entertainer will help things along. 

PERFORMER 

Are you satisfied that there is nothing there? You are? Very 
well, gentlemen. Now..,. do you still doubt there are spirits? Do 
you still believe in your own eyes? Have you or have you not seen 
the doings of spirit hands? Or have I hypnotized you unconsciously? 

Aim for comedy but still keep up the air of mystery. Don't 
^'kid" your volunteer assistants too much. Get all the laughs you 
can, but get them legitimately. Avoid personal stuff. The men re- 
cruited from the audience, are kind enough to assist you, so avoid 
attempts which miglit make them seen foolish to the rest of your 
audience. 

PERFORMER 

To further prove I use none of the familiar aids of the magician 
.... I shall have a carpet spread under the platform. 

Stagehands and assistant bring out a roll of carpet .... prefer- 
ably a large rug. This is stood upright while still rolled and unrolled 
upright. Be sure when they unroll it slowly that it is held and stead- 
ied by stagehands. The assistant in cabinet makes her way off stage 
to the wings behind the carpet. This is done quickly. The end of car- 
pet or rug is held to wing or a little behind and unrolled upright 
while performer taps same showing that there is no openings, etc., 
in it. The performer calls for the spotlight to be thrown on to car- 
pet and then remarks that in order to have those out front see it 
better calls for stage and house lights to be lighted. This is another 
touchy bit of business but careful rehearsing and assistants and 
stagehands who aim to avoid clumsiness will take the load of re- 
sponsibility from the performer's shoulders. 

During this part of the act the performer should keep up a run- 
ning convincing line of patter to cover up what is going on behind 
tlie carpet. This part of tbe patter can be "ad lib" to suit the per- 



78 



former's own taste. The platform should be near a wing so lady as- 
sistant's getaway will go unnoticed. As soon as possible have the 
carpet taken from wing so some wisenlieimer in audience won't get 
wise. 

While assistant is getting out of cabinet the performer, who has 
closed curtains, shakes the curtains so if assistant should fumble a 
bit and shake cabinet it will be thought to be done by the performer. 
This getaway is done in a flash. After tapping cabinet go over to 
carpet and tap that. Have an assistant throw open cabinet or better 
still have "plant' Y^^/^^r you are sure the lady has made good her ex- 
it) suspiciously look into cabinet. Then you walk over and throw 
open curtains or tell a stage hand to do so.. 

Before the lady gets out of cabinet she (an assistant unties the 
hottom tapes at hack so she can get out easily) takes down the false 
curtain and takes it off with her. This curtain is no longer used. 

PERFORMER 

Now please, place the carpet down. Thank you. Kindly roll the 
platform onto carpet. That's right. (Platform, is placed center.) (To 
committee) Now you can see all is well. No sort of spirits whatever. 
Not even, to our regret, bottled ones. Now I'll show you a sure way 
of losing those you wish to get rid of. 

"Ad lib" patter as the following is being done. 

Assistant brings on a trunk, mail bag, canvas cover, rope and 
several pairs of handcuffs. 

A stagehand brings on glass top or ''prop" table on which lies 
a slate, a piece of chalk, a thick piece of wood, long nail, hammer, 
pack of cards, length of rope, bell, horn and revolver. 

PERFORMER 

Tjiles im Folded to us by oriental wonder workers often leave us 
wondering and most times, (h)nbting. While travelling in the Orient 
(localize) I came across a Hindoo fakir who had manj^ secrets. 
Many of these wonderful secrets he revealed to me. Some of them I 
dare not even put into form for presentation. . . .as I value my life. 
1 know you don't believe me but such is the truth. But let me show 
you one of these secrets. Allow me, before proceeding any further, 
to introduce to you my assistant. Professor Donleunto. . . .a direct 
descendent of the world-famed, old time conjuror Cagliostro. 

(Chord from orchestra. Assistant comes on and hows to specta- 
tors.) 

Lady assistant is dressed in a tuxedo, has on a man's wig and 
mustache. She must look like a man from the audience's viewpoint. 
Should she betray the fact that she is a woman .... this would take 
some of the effectiveness from the specialty. She doesn't speak at all. 

Assistant is securely handcuffed and if performer wishes it a 
pair of "tricked" thumb cuffs may be placed on her thumbs by an 
assistant or the "plant". She. (or as they think "he") is placed in a 
mail bag, spectators may furnish their own locks, then lifted and 
placed into trunk, which is in turn locked and securely covered and 
knotted after placing canvass cover over same. Trunk is placed onto 
platform and on top of the trunk or better still beside trunk is 



79 



placed the bell, hammer, nail, wood, tambourine, piece of rope and 
the slates, cards and chalk. 

Performer now pnlls the front curtains and then asks the com- 
mittee to surround the cabinet. This takes up a little time which en- 
ables the lady to get out of the handcuffs, the bag and opening trap 
in the trunk loosen the canvas cover. 

Committee are now placed around cabinet. 

Lady gets out of trunk, sticks her hands thru front of cabinet 
making them appear to be flying here and there. 

The bell is rung, the tambourine banged, hammering is heard 
and piece of wood is thrown from the cabinet with nail thru it. 
Hammer follows. Then piece of rope is thrown out and performer 
shows that rope has been knotted by some spirit agency. 

Someone is requested to call a name, any name. This is done and 
the spirit ( ?) hand hands out a slate upon which is written the 
name selected. Performer now shows a pack of playing cards. Has 
several of the committee or the spectators select a few (more if time 
l^ermits and an evening's entertainment is heing given). The per- 
former asks the spirit hand to think of the cards selected and one by 
one, after a spotlight is thrown onto front of cabinet, the hand ap- 
pears and each time one of the selected cards are handed out for all 
to see. 

The trunk is a tricked one familiar to all magical entertainers. 
The method of making an exit thru a sliding panel or a trap door 
is too well known to be gone into here. The canvass cover business 
is also well known. 

The main thing is that the trunk be one from wliich the assist- 
ant can easily and quickly effect her escape. 

The mail bag is tlie usual affair with a thin short top bar 
which unscrews in the middle or at one end only after the lock is 
l)ut on. The lock acting as a sort of lever by which the bar can be 
unscrewed. The regular long thick bar as sold is not as good in this 
bit of work because an audience grows suspicious at anything that 
looks bulky and large. 

The handcuffs are tricked so they can be instantly ojoened by 
assistant. 

Lady begins, as soon as she is in trunk to unfasten the thumb- 
cuffs and handcuffs and get out of the bag. The bag she carefully 
locks again by tightly screwing the section bar into place after she 
has taken off the man's attire, mustache and wig. This must all be 
accomplished quickly. 

Stepping out of the trunk, she quickly between the various 
manifestations, works stage business of waving hands, etc.. and ties 
cover taunt again across trunk. She hides behind trunk when cur- 
tains are pulled aside bv performer so audience believes evervthing 
is still O. K. 

The slate writing needs no explanation, neither does the tieing 
rope and hammering nail into the board. The card stunt is done by 
either performer using a trick pack of cards or as I used the cards 
])y forcing from two to five on various disinterested spectators well 
down toward tlie front. 



80 



Suddenly upon a word of command from the performer the cur- 
tains of the cabinet open themselves. This is accomplished by ar- 
ranging pieces of strong, black cord on parts of the curtains at front 
ol* cabinet and operated by the lady hiding behind the trunk. The 
cords have small hooks fastened to them. Experimenting will show 
the entertainer just how this is done. 

PERFORMER 

Now ladies and gentlemen : — Without a doubt you still have 
clung to your own formed opinions as to how things have been ac- 
complished. You are at liberty to do so, of course but allow me to 
close my part of the entertainment this evening with what I know 
to be one of the quickest escapes and transformations on record. 

Performer again closes curtains on cabinet and spotlight plays 
on it. 

Orchestra takes up an oriental strain and plays same verv soft- 
ly (P. P.) until end of act. 

Performer places committee again around cabinet and stand- 
ing to one side of stage fires a revolver. 

Immediately cabinet front is thrown open and out steps the 
little lady. 

Performer and lady bow to the well-deserved applause. 
Performer leads lady off stage. 

Performer thanks committee for their assistance, bows them 
off the stage, down the rundown, and then again bows as the curtain 
descends. 

CURTAIN 

NOTE : — Plenty of rehearsing is necessary for an act of this 
sort. The more the better. During rehearsals the entertainer will find 
that the act is simple to work and when properly presented by a 
showman. . . .tlie specialty is one that is sure to mystify and enter- 
tain the most fastidious audience. 

A'lii/ further information necessary will 'be gladly given Tjy send- 
ing a stamped self-addressed envelope to David J. Lustig ("La- 
Vellina'') care of 1201 Main street, Bridgeport, Connecticut, U. S. A . 




THE LATE W. D. LEROY 



DANIEL SILVEY 
Successful Magical Dealer of Boston. 



SCENAEIO 

MAGICAL DIVERSIONS. 
By 

The Hands of La YeUma. 

A Movie Script in continnitv form — could be pliotographed and 
used to open an act or show. 

LEADER 
HANDS OF MYSTERY. 
SCENE NO. 1. 

SHORT ''SHOT" OF PAIR OF HANDS. (Fade out and into 
Scene 2.) 

SCENE NO. 2. 

HAND SHOAVN EMPTY, FRONT AND BACK; SUDDENLY 
PART OF A PACK OF CARDS APPEARS IN FAN FORM, THEN 
ANOTHER FAN OF CARDS IS PRODUCED. 

SCENE NO. 3. 
LEADER 
EASY WHEN YOU KNO^Y HOW. 
Scene. 

BACK AND FRONT PALM WITH A CARD ; THE SEVERAL 

82 



CARDS ARE PICKED UP AND VANISHED IN MIDAIR. 
HANDS ARE SHOWN BACK AND FRONT, EMPTY. CARDS 
ARE NOW CAUGHT EITHER SEPARATELY OR IN FAN. 

LEADER 
WOULDN'T DECEIVE YOU FOR WORLDS. 

SCENE NO. 4. 

VARIOUS FANCY FLOURISHES AND COLOR CHANGES 
WITH PACK OF CARDS. 

LEADER 
''FIVE OF HEARTS r 

SCENE NO. 5. 

CARDS SHUFFLED, ONE SELECTED AND SHOWN, RE- 
PLACED, PACK WELL SHUFFLED, CUT, A HAND TAKES OFF 
TOP CARD OF PACK CUT, CARD SHOAYN AND PROVES TO BE 
CARD ORIGINALLY SELECTED. (No stop camera ivork.) 

LEADER 
A SIMPLE BIT OF BYE PLAY. 

SCENE NO, 6. 

SELECTED CARD SHOWN, BACK AND FRONT, THEN 
STOOD UPRIGHT ON ENDS OF FINGERS. 

LEADER 

AN EXPERIMENT ANY SIX YEAR OLD CHILD CAN ACCOM- 
PLISH AFTER TWELVE YEARS OF PRACTISE. 

SCENE NO. 7. 

COMPLETE REVERSING OF SELECTED CARD IN DECK 
AFTER SHUFFLING VIA SLEIGHT OF HAND. ALL THE EF- 
FECTS IN THIS SCENARIO ARE ACCOMPLISHED BY PURE 
SLEIGHT OF HAND. 

LEADER 
THE MYSTERIOUS THIMBLE. 

SCENE NO. 8. 

THIMBLE APPEARS ON FINGER OF RIGHT HAND. VAN- 
ISHES AND APPEARS ON FINGER OF LEFT. THEN VANISH- 
ES AND APPEARS ON DIFFERENT FINGERS OF RIGHT. 
THIS CAN BE WORKED SO THIMBLES APPEAR ON EIGHT 
FINGERS. 

LEADER 
COIN MANIPULATING. 

SCENE NO. 9. 

VARIOUS COIN VANISHES AND REAPPEARANCES. FIN- 
ALLY A FEW COINS COMPLETELY VANISH. 

LEADER 
LA VELLMA COINS AND LEMON TRICK. 
The closer you imtch, the more you think. 

SCENE NO. 10. 
TWO BORROWED, MARKED HALF DOLLARS ARE 
WRAPPED IN A PIECE OF PAPER, AND VANISHED AT FIN- 



83 



GER TIPS. THESE ARE FOUND INSIDE OF A SELECTED 
LEMON WHEN FRUIT IS CUT OPEN. LEMON REMAINS IN 
FULL VJEW THROUGHOUT THE EXPERIMENT. 

LEADER 
KEEP YOUR EYES ON THIS OXE. 

SCENE NO. 11. 
FOUR ACES ARE VANISHED FROM PILES ON STAND 
AND ARE FOUND IN PILE SELECTED BY A SPECTATOR. 

SUBTITLE. 
(Try This Over On Your Piano!) 

SCENE NO. 12. 
HANDS PICK UP A PACK OF CARDS, SHUFFLE THEM, 
]>ACK IS SQUARED UP. PACK IS TORN IN HALF, THEN INTO 
QUARTERS. 

SUBTITLE. 

LA VELLMA : — ''Any card called for will be located at any 
number called." 

CAMERAMAN : — ''Four of diamonds ! At number 15." 

SCENE NO. 13. 
FOUR PILES OF TORN CARDS ARE ON TABLE. (ALL 
THESE SCENES ARE SHOT "Closeup.") HANDS PICK UP, ONE 
AT A TIME, EACH OF THE FOUR PILES AND COUNTING 
D( )AyN EVERY PILE LAYS ASIDE THE 15TH PIECE IN EACH 
PILE. 

SUBTITLE. 
AND THAT'S NOT ALL ! 

SCENE NO. U. 
PIECES OF CARD ARE TAKEN AND HELD I^P SHOWING 
IT IS THE SELECTED CARD, THE FOUR OF DIAMONDS. 

SCENE NO. 15. 

Same as Scene 1. 

(Dissolve Out.) 




84 



FREDERICK EUGENE POWELL 
World Famed Magician and Illusionist. 



85 



"The Only Magic House!" 

1. The ONLY Magic Honse with ACTS OF THEIR OWN ON 
THE ROAD! ! (One 5-people act and one 7-people act, United & 
Patanges SOLID). 

2. ONLY Magic House conducted by ACTIVE PROFES- 
SIONAL PERFORMERS. (Members of the National Vaudeville Ar- 
tists. Inc., stage union). 

With ACTS of their OWN on the road POOLE BROTHERS 
feel qualified to supply NEW ORIGINAL MAGIC that is PRAC- 
TICAL and will MAKE GOOD. They create, build and stage Features 
or Complete Acts and equip them in a PROFESSIONAL MANNER. 
Let them advise YOU. 

"WHEN YOU WANT ORIGlNA.L MATERIAL — PROFESSIONAL QUALITY, 

GO TO POOLE'S" 
Some Recent Features. 

"POOLE'S PROHIBITION PHEAT" A RIOT! Any liquor poured from one bottle $10. 

"MIRACLE OF THE EAST." At last a perfect fabled flower growth. Done on the 
"Rundown" or even In the audience, without body loads, table, or assistant. 
Ask Harry Rouclere. $20. Two for $35. 

"NYMEX PRODUCTION CHIMNIES." Bought the rights to this, the greatest 
production for flags, silks, ribbons, etc., ever conceived and the ONLY ONE 
that can be performed with audience completely surrounding performer, at 
three feet. Protected. $25. 

"DR. C'S PSYCHIC SLATE WRITING." Fooling all the clarvoyants, mediums and 
mystics. Positively no fakes or flaps, yet two slates actually shown. ALL 
SIDES (each side marked by spectator with his initial after inspection, writ- 
ing produced in genuine chalk. Performed on stage or parlor with people on 
ALL SIDES. An invention of Dr. Carrington and guaranteed to be ABSOLUTE- 
LY NEW or MONEY BACK. $2.50. "HEADQUARTERS IN U. S. A. FOR 
MIND READING AND SPIRIT SUPPLIES." 

THE "MASTER MIND ACT." The only practical method yet devised by which ONE 
MAN without any assistant can walk into any hall or theatre and give a mind- 
reading act with sealed messages, without any preparation of hall theatre, no 
switching and without any delay or intermission. Possible only with Poole's 
Protected Device (infringements legally prosecuted). Guaranteed to be NEW, 
or your MONEY BACK. Over 50 sold and not one returned. $10. No pads, im- 
pressions of any kind, alcohol, turbans or ANYTHING EVER USED BEFORE. 
"GREATEST THOUGHT TRANSMISSION ACT." Using true wireless tele- 
phones (not induction coils) on the body of the performers. Anything spoken 
to one in audience is heard by other. Nothing on floor. Everything carried on 
body. 

SPIRIT WRITING and SPIRIT PICTURES. Cardboard or canvases submitted to 
audience and one selected and marked are placed between two sheets of glass 
and secured by thumb-buttons. Shown both sides, identification marks plainly 
seen. WTHOUT COVERING either spirit writing or a GENUINE PAINTING 
IN OILS appears in 15 seconds. It is presented to club, etc. — a lasting ad for 
you. NO CHEMICALS. 11 x 14, $14. Size, 18 x 20, $20. 

SEND FOR LIST OF "SPIRIT WONDERS," 5c. 
CATALOG OF 55 STA.GE ILLUSIONS, 50c. 

We have supplied the majority of the successful acts of this 
type in the business today. Ask them. We will forfeit |1,000.00 if 
we fail to show to your representative in New York that we have sup- 
plied our spirit effects and outfits of this type alone to over 80 per- 
formers here and abroad. 

Poole Bros. Store 



1893 Broadway New York, N. Y. 

86 



"Vaudeville Mind=Reading" 

CONTENTS. 

INTRODUCTION (by Henry Hatton). 
FOREWORD. 

VAUDEVILLE MUSICAL SILENT THOUGHT TRANSFERENCE ACT. In which 
members of the audience whisper to the performer the titles of any musical se- 
lection, and upon spectator requesting- the lady at the piano to "Please play my 
selection," she not only plays it, but names the selected piece. This is a method 
of performing- the most baffling- Silent Thought Transference act that has ever 
appeared upon the vaudeville stage. 

VAUDEVILLE SECOND SIGHT ACT. 

Involving- a new method of sig-naling to the medium, which enables her to go into 
audience, and, while apparently under the hypnotic control of the performer, ac- 
complishes some difficult and complicated tests. Medium writes initials of specta- 
tors and the names of selected cards. 

VAUDEVILLE CRYSTAL - GAZING ACT'. 

Complete method in which the performer, working- in Oriental g-arb, walks freely 
about stage, reading- answers to queries, also names, etc., written by members of 
the audience. This sort of act has mystified audiences throughout the world. Per- 
former consults crystal sphere, wherein he professes to read the various answers 
to questions put to him. 

I'HONETIC SYSTEM FOR SILIENT THOUGHT TRANSMISSION ACTS. "Some- 
thing new under the sun." In this chapter this new and novel system is worked 
around the most baffling- silent transmission act of them all; in which any se- 
lection whispered to the performer, in audience, is played by the blindfolded 
pianist on the stag-e. 

VAUDEVILLE FEATURE MIND READING ACT'. 

Complete modus operandi of a mind reading act, the kind which always wins 
favor with an audience. 

WINGED MYSTERY. 

An unusual and baffling mind reading experiment with a sure-fire sensational 
finale. A feature specialty of just the sort to bring- a big mind-reading show to 

ON ANSWERING QUESTIONS. 

Treating how to answer "catch" questions as well as many others. 
METHOD OF OBTAINING SEALED MESSAGES WRITTEN AT HOME BY MEM- 
BERS OF THE AUDIENCE. 
THE BLINDFOLD DRIVE. 

Various methods of stag-ing and performing this great publicity getting stunt. 
A SENSATIONAL PUBLICITY TEST. 

This is a stunt stag-ed by the performer in the city or town where he is playing-, 

and is sure to bring forth columns of news stories that is far better than the 

usual news stuff. 
A VAUDEVILLE MIND READING ACT. 

Complete from introductory speech to the transmitting- of articles; with various 

tests for the medium, introducing a short fortune telling by cards, effect and all in 

all an act that can run from twenty minutes in vaudeville to an liQur and a half 

in a theatre as the feature part of a road show. 
PUBLICITY STUNTS FOR MIND READERS. 

Six tests that can be performed in clubs, newspaper offices or hotels and will gain 

prestige for a clever entertainer. 
SILENT' THOUGHT TRANSFERENCE. 

A method that has puzzled audiences in this countrv and abroad. 
A LATER DAY MIRACLE. 

A different sort of test after which an audience is left too dazed to even applaud 

until several minutes after the curtain has descended. 
MIND READING ACT FOR CLUB ENTERTAINERS. 

A non-electrical method of reading- and answering- questions, using the crystal ball 

feature. This is a new method and will be appreciated by the club and society 

entertainer. 
THE CHESS KNIGHT TOUR. 

Two methods of performing- this entertaining feat, which can be introduced as 

a mind-reading- experiment. 
MENTOLOGY. 

A novel effect which enables the club entertainer to name every card in an entire 
deck, in ox'der drawn without memorizing. 
VOICE CULTURE. 

A valuable chapter that should not be skimmed over, but carefully read by all 
mental telepathists and conjurors. 
CONCLUSION. 

A g-eneral wind-up, touching- on mind reading- and kindred phenomena. 

SUPPLEMENT. 

GAMBOLS OF THE GHOSTS. 

A two-hour entertainment, introducing- demonstrations in Mysticism. Mental 
Telepathy, Occultism and kindred weird and startling- so-called Psychic Pheno- 
mena, winding up with a novel Crystal Gazing performance. This entertainment 
will meet the approval of all advanced entertainers, especially the performer who 
wishes to carry a limited amount of paraphernalia. 

$2.00 Postpaid Complete 

ROBERT W. DOIDGE 16 Elm St., Somerville, Mass. 

87 



Real Vaudeville Patter Written to Order. 
Vaudeville Material of Every Description 
written and staged. Prices within reason. 
Novelty Acts Arranged and Staged. 

Hundreds of genuine unsolicited testi- 
monials 

DAVID J. LUSTIG 

LA VELLMA 
Permanent Mail Address 

Care of 1207 Main Street 
Bridgeport, Connecticut 
U. S. A. 

Patter that IS "different" for tricks, il- 
lusions and special effects. Ask Ovette, 
Evans Brown, Blackstone, Dermotti, Vac- 
co, etc., etc. Let me know what you wish. 
You'll be satisfied. 

"Always glad to hear 
from any of the boys." 



Are you getting together a Magi- 
cal Library? 

Are you in search of a certain 
rare work? 

If so get in touch with me. 

A pink stamp brings my latest 
revised lists. 



ROBERT W. DOIDGE 

16 Elm Street 
Somerville, Massachusetts 
U. S. A. 



Correspondence solicited 
WANTED AT ALL TIMES: Novel Mind 
Reading Ideas. What have you? 




iQue 



ILLUSTRATIONS 

FOR EVERY MAGICAL PURPOSE 

Up-to-date designs for Letterheads 

Book Covers and Posters by 
an artist who under^ands magic 

Inventor and Illustrator 
of Manipo— Ghost Cigarette— Xkwisit 



88 



illllli[]|lilllllllllE]|||||||||||IC]ll|IIIIIIIIIC]llllllllllllC]llllllllilll[]IIIIIIIIIIIIE]llllllllllll[3llllllin 



Henri D'Rubio 

^76 Mission Street 
San Francisco, California 



Dealer Exclusively in 
Practical Magical Apparatus 



Send 10 Cents for Catalogue 



TED LYTELL'S RAG 
PICTURES 

Don't want to talk about myself, so I will 
let my satisfied cuAomers write my ads. 

Here is one — "Rag Pictures came thru O.K. and 
are just wonderful. I now fully appreciate what a 
real rag picture is and can be when constructed in 
correct manner by one who has a practical mind plus 
the artistic element essential to see that lights and 
shades, color blending and general harmonizing 
are all taken care of without a lot ot difficult tech- 
nic put on the performer to dope out." 

I hope you believe it for I try to 
do this and more. 



Send Pink Stamp for My 
Latest Book List 

NEW BOOKS! 
RARE BOOKS! ! 
UNUSUAL BOOKS! ! ! 

No matter what you are looking for 
in the Book Line consult me first 
Prices Within the Reach of ALL. 

ROBERT W. DOIDGE 

16 ELIVI STREET, 
SOIVIERVILLE, IVI ASSACH USETTS 

MIND=READING ? 

(Any Distance) 
Simply wonderful, wonderfully simple 30c 
Hypnotism, " banishes diseases, con- 
trolls others, astounding exhibitions 
easyt 25 lessons, $1.00 
Satisfaction guaranteed 

SCIENCE INSTITUTE 

R. D. 6435 North Clark Street 
CHICAGO, ILL. 




David J. Lustig 

(La Vellma) 
WRITER OF VAUDEVILLE. iVlAGICAL 

AND KINDRED ART MATERIAL 
Vaudeville Sketches. Playlets, Tabloids 
and Novelty Acts, Written 
and Produced 
Permanent IVlail Addresses 

Care of 1207 MAIN STREET, 
or 

173 CATHERINE STREET, 

BRIDGEPORT. - CONNECTICUT 



YOURS in RAGS, 
TED LYTELL 

Winthrop, Mass. 



89 




The Professional Books on Magic 

THE PROFESSIONAL BOOKS ON MAGIC. 
SOLD only WITHIN THE PROFESSION, carried by 
all the oldest and largest Magical Dealers here and 
abroad, the Bnrling Hull Publications have held the 
^ I lead of American writings on Magic for the years. The 
^?Sy author is strictly and exclusively a professional magi- 
y cian playing from vaudeville and lyceum to his own 
organization, as well as the leading individual engage- 
ments with his "Innovation Magic Act" (performed as 
at the Mardi Gras Ball at the Ritz-Carlton Hotel, Ball 
of Nations, Commodore Hotel, etc., with thousands of 
spectators on ALL SIDES of the performer), is known 
as the magician who has "Played from the White 
House to Sing Sing Prison." Perhaps that is why they are spoken of 
as the most "PRACTICAL" books on Magic. Aside from the author- 
ship of 18 books on Magic, he is the inventor of many features used by 
the leading stage performers and his original eifects are sold by prac- 
tically every magical dealer today, and the BEST of his inventions are 
contained in his books. 

SOLD BY Felsmans^ Cliicago; Thayers^ Los Angeles; Poole Bros.; 

New York; Heaney^ Berlin; Gamages, Holhorn; Wiles^ 
Manchester; Davenport^ London. 

LATEST PUBLICATIONS 

"24 METHODS for MIND-READING and CRYSTAL GAZING 
ACTS." Most complete treatise of methods for this tvpe of act ever 
issued, about 10,000 words Ms. |2. 

"HOW TO ANSWER QUESTIONS FOR THE CRYSTAL GAZING 
ACT." The whole system annalized and taught so ANYONE can use 
it, with Introductory Lectures, etc. |5. 

33 Rope Ties and Chain Releases.... $1.00 I Expert Manipulation (200 Photos).... $1.50 

Art of the Stage .75 I Modern Handkerchief Act 1.00 

Challenge Handcuff Act and Charts 2.00 j Bulletin, Original Tricks 75 

"Sleights" Clever effects 25 1 Master Sleights (50 Photos) 75 

FELSMAN, POOLE BROS., WILES, Ltd. 
ORDER FROM DAVEN PORT & CO. 

THAYER, HEANEY CO., GAMAGES, Ltd. 

THE BURLING HULL STUDIOS 

Member "National Vaudeville Artists" 
NEW YORK STUDIO BROOKLYN STUDIO 

1947 Broadway, 167 Senator Street, 

New York, N. Y. Brooklyn, N. Y. 

NEW ^'i^-:' MAGIC MIND READING 

WANTED FOR FUTURE PUBLICATIONS 

All manuscripts should be typewrit- Get husy and send in your 

ten. Always enclose return postage. ideas or complete act nianu- 

Write on one side of paper only. scripts XO^V ! 

ROBERT W. DOIDGE 

Pu'blisher of Magical and Kindred Art Literature 
16 ELIVI STREET, SOMERVILLE, IVl ASSACH USETTS 

90 



MAGICAL LITERATURE ! ! 

Books on Legerdemain, Conjnring, Magic, Card Tricks, 
Yentriloqnism, Shadowgrapliy, Rag Pictnres, Chalk 
Talks ; and interesting books on Occultism, Black Magic, 
and Spiritism alwaj^s in stock. 

Goldston's "More Exclusive Magical Secrets." 

Teale's "Higher Magic," de Luxe, $6.00; cloth, $5.00. 

Houdini's "Miracle Mongers and Their Methods," $3.00. 
Dorny's "Trix and Chatter," $4.00. 

Downs' "The Art of Magic," cloth, $5.00. 

Walker's "Up-to-Date Conjuring," $1.50. 

Holmes' "The Magic Art," Vol. I, $2.50. 
Naldrett's "Collected Magic," $1.50. 

Hundreds of rare and out-of-print hooks and pamphlets. 



LEO RULLMAN 

1421 University Avenue, New York City 



Magical Apparatus - Novelties 

Sensational Escapes, Stage Goods 
Superior Quality and Workmanship 
Big Catalogue Mailed to you free 

Complete Cry^al Gazing Acts. Something New in this line 
Write us for Circular A 

We are headquarters for Magical Goods, Jokes, Novelties from all 
over the world. Sensational escapes, latest and the best. 
Spiritualistic Effects, new and great 

We, buy and pay you well for new ideas — also Magic Books, Escapes 
Bought, Sold and Exchanged. Send us list ©f what you have. 

Our Big Catalogue sent you free. Write today, we will save you money 

Heaney Magic Co. 

Desk D Berlin, Wisconsin 

91 



The Latest, Prettiest and Most Novel of all is 

Haunted Pips 

A card ie selected by a spectator, handed to the performer who places 
it at one end of an easel, a blank card is shown and placed at the other end of 
the easel, both are now covered with pieces of paper. The performer stands 
away from the easel and commands the PIPS to pass VISIBLY from the card 
which was selected to the blank card, as the PIPS appear half way between the 
cards the performer commands them to stop, he now shows BOTH CARDS TO 
BE BLANK, replaces them on the easel and the PIPS complete their journey. 
The pieces of paper on being: removed show the PIPS ON THE PREVIOUSLY 
BLANK CARD. 

PRICE, $5.00. 

SPECIAL APPARATUS BUILT TO ORDER 

DEL ARNO 

INVENTOR 

4S0 WASHINGTON AVE., & CHELSEA, MASS. 

MANUFACTURER 
OF 

MAGICAL APPARATUS 



MAGIC CARDS 

While these cards apparently are the same as any ordinary 
deck of Playing Cards, they can be used for magical "stunts'* 
without number. 

The backs are entirely mechanical— no lengthy study nor 
practice is necessary. 





f<.:*5\o:.':.:«:<.:«:'V:''<.''«;.:«:^.:^ 






DE LAND'S DOLLAR DECK DAISY DEC K 

This deck contains over 12,000 secret The backs of this di-tk conlai 
marks. Some seemingly impossible (em of marks which can be r 
teats i.n magic can be performed with distance of l."> feet. Wonde 
sta^e i;se. 



NK-TV DECK ADAMS' LEAGUE DECK 

This deck is especially suited for Ion? These cards can be "told" from th" 

distance reading. The directions b;ick as well as the front. You cai 

toil you bovv to accomplish some perform an entire act in magic with 

seemingly impossible feals. their aid. 



Every one of these decks is different. Exclusive tricks can be performed with each. Special 
directions containing the secret "key" are furnished with every deck. 

With these cards YOU can accomplish feats in magic, equal to any performed by professional 
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PRICE PER DECK .... ONE DOLLAR 

Send a 2c. stamp for our Illu^rated Catalogue 

S. S. ADAMS, Asbury Park, IN. J. 

92 



Silvey & Bugden 

Oldest Magic Supply House iu America. Silvey & Bugden^ 
Successors to W. D. Leroy. Conductors of the Boston School of 
Magic. Teachers, Inventors, Importers and Dealers in everything 
in Magical Apparatus. Always exclusive features to be had of us. 
If its Silvey & Bugden^ it's the best. The latest European and Amer 
ican books always in stock. Magic papers, etc., hundreds of rare books 
and papers always on hand. We pay a good price for second hand 
Standard Magical Apparatus. Home made stuff not wanted at any 
price. 



BOOKS. 

Higher Magic (Oscar Teeie) $5.00 

The Art of Magic Nelson Downs) 5.00 

Tricks and Chatter (Dorny) 4.00 

Original Mysteries for Magicians — Brunei White.... 1.25 

More Miscellaneous Magic — Percy Naldrett 1.00 

Magical Notes and Notions — Percy Naldrett .75 

Tricks for Boys — Ernest Sewell .50 

Popular Patter — Fred Rome .50 

More Popular Patter — Fred Rome .50 

The Magician's Book of Patter — Charles Medrington .50 

Hints to Young Conjurers — Oswald Williams .50 

The Red Demons or Mysteries of Fire — E. Barnello, 

originator of the Modern Fire act .50 

Modern Card Effects and How to Perform Them — 

Geo. Delawrence and James Kater Thompson.... 1.50 

Original Magical Creations — Stanley Collins 1.50 

Deceptive Conceptions in Magic — Stanley Collins.... 1.50 

Chemical Magic — V. E. Johnson 1.00 

Paper Magic — Will BIyth $1.00 

Paper Tricks — Will Goldston 1.00 



TAKE NOTICE. 

Publishers of New Books and Inventors of New Magical Ideas 
are requested to send samples. 

Lists sent free. 

Silvey & Bugden 

Successors to W. D. LEROY 



103 COURT STREET, 

93 



BOSTON 14, MASS. 



The "Billy O'Connor" Effects 

First Time Offered to the American Trade 

BY 

S. WILLSON BAILEY 

580 Massachusetts Ave., Cambridge 39, Mass. 

BE THE FIRST ONE TO SHOW THESE EFFECTS, AS THEY ARE 
SURE TO BE POPULAR. 

INSTANTO 
The Best Card Effect Ever 

With this pack ANY card called for is instantly found, even with the pack 
held behind the performer's back. Also, ANY number of cards called for may 
be instantly cut and then counted to prove correct. 

1. Every time a card is called for, it is expooed by merely cutting the pack. 

2. The performer doee not even look at the pack to find the cards called 

for. 

3. The cards may be found just as easily with the pack held behind the 
performer's back. 

4. Cards may be examined to prove they are quite ordinary. 

5. Any and every card in the pack may be called for, including Joker. 

6. Any number of cards instantly cut, this time also behind back, if 
desired. 

Including pack of cards and illustrated instructions. - PiRICE, $3.00 

THE ''HOUDINI" COURT CARD. 
Titled by Kind Permission of Harry Houdini. 

EFFECT — Court Card and two pip cards are given for examination; and, 
beyond the fact that they each have a small hole in center, they are entirely 
unprepared. 

The performer explains that the Court Card has the same mysterious 
power as THE GREAT HOUDINI, and will make a SENSATIONAL escape. 

First, one of the pip cards (called a committee man) is threaded by passing 
a thread through the hole in card; the performer then exhibits a piece of ap- 
paratus, into which the Court Card is "locked," the apparatus (called a straight 
jacket) having holes in the center of each side corresponding with hole in card. 
It is thus passed on to the thread already containing the pip card; then the 
other pip card is also added to the thread, the two ends of which are now given 
to a spectator to hold. 

The performer now points out that the Court Card IS NOW SECURELY 
FASTENED, yet, without covering anything in any way, and in the most open 
manner, he pulls the COURT CARD ENTIRELY FREE of the "Straight Jacket" 
and thread, and immediately gives it for examination. 

REMEMBER THESE POINTS: Everything may be examined without 
fegr. Nothing is exchanged. No covering. The escape is done in full view of 
all. Complete with full instructions, tips, etc. PRICE, $2.00. 

A POSSIBLE IMPOSSIBILITY. 

This is guaranteed to fool any conjuror or anybody to whom you may show 
it. Billy O'Connor says: "It is the best trick he has ever worked out." 

EFFECT — The conjuror gives a spectator a pack of cards and asks him 
(spectator) to shuffle pack, and WITHOUT GIVING THE PACK BACK TO 
THE CONJUROR, the spectator is instructed to take a card from the pack, 
look at it, put it back in pack, and shuffle cards again. All this is done without J' 
the CONJUROR EVER TOUCHING THE CARDS ONCE. 

(Continued on Next Page) 

94 



More Billy O'Connor Effects 

Yet the spectator gives the conjuror the pack of cards, and without speak- 
ing or asking any questions, the conjuror immediately finds the selected card. 

REMEMBER THESE POINTS: 

1. The cards are not faked or marked in any way. 

2. Absolutely guaranteed to fool any one. 

3. No CONFEDERATES. 

4. No QUESTIONS ASKED. 

5. ANYONE CAN DO IT RIGHT AWAY ON ACQUIRING THE SECRET. 

6. NEEDS ABSOLUTELY NO PRACTICE. 

7. NO SLEIGHT-OF-HAND. 

Now, as a test, try and do this trick under the above conditions; and, when 
you have failed, send ue ONE DOLLAR and we will tell you how to do it. 

EDUCATED DIE TRICK. 

EFFE''CT — Six cards are shown, all e^ntirely different; one is selected, 
ijx)ted, and the six cards are then thoroughly mixed, after which they are placed 
in a row, face downwards on a table or easle. An ordinary die is then ex- 
amined, and, found to be without trickery, the die is then cast, the number top- 
most on the die reveals the position of the selected card among the six lyin^ 
on the table. 

POINTS TO REMEMBER: When the card is revealed by the cast of the 
die, the WHOLE FACE of the card is shown. The die is totally unprepared 
and may be borrowed. The trick may be repeated as cften as desired, each 
time -showing every card to be different. PRICE, 75 CENTS. 

THE REVOLUTION MATCH TRICK. 
A Real Pippin. 

EFFECT — A match is placed HEAD DOWN into the TOP end of a small 
tube; yet, when it is taken out of the tube at the bottom end, it comes out 
tail first, the match having reversed itself in the tube. 

Everything may be given for examination, as there is no clew to the 
mystery, no sleight of hand, nothing to exchange. PRICE, 50 CENTS. 

PENETRA. 
A Pocket Matter Through Matter. 

A card experiment, in which any article, such as a poncil, match, or cigar- 
ette is apparently passed through an ordinary card, tha card being examined 
before and after the experiment. Complete with full directions. PRICE, 50 
CENTS. 

THE O'CONNOR DISC MYSTERY. 

This is not an invention, but merely one of Billy O'Connor's brain moves, 
which will fool you if someone shows it to you. 

Be the First! Get It Now! 

EFFECT — A piece of string and three colored discs are given for ex- 
amination. The discs are then threaded on the single string, both ends of the 
string then being held by a spectator. Conjuror removes any colored disc 
without passing it off either end' of string, again allowing everything to be 
examined. ANY ONE CAN DO THIS WITHOUT PREVIOUS PRACTICE. 
PRICE, 50 CENTS. 

To introduce the ^'O'CONNOR'* tricks to the American market 
I have permission to offer the Seven effects, as above 
complete for the special price of $7.00 if taken at one time. 

S. WILLSON BAILEY 

580 Massachusetts Avenue, Cambridge 39, Mass- 

95 



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Please Send Cash Registered, or by Postal or Express Money 

Order To 

Prof^ Sam J. Breakwell 

I 15 Goliad Street,San Antonio, Texas, U.S.A. 

96 



LaVellroa's Publication^ ! ! 



A THUNDERBOLT IN MAGICAL LITERATURE! 

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READING 

And Kindred Phenomena 

Bj David J. Lustig (LaVeUma) 

Acclaimed by our foremost professional performers and all magical magazines 
the greatest book of its kind ever attempted. A complete Knockout ! 

TWO DOLLARS PER COPY 



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